ࡱ> %` ibjbj 0l̟̟E%`4`4`484$4Lx;J55"656565666:::::::$<h*?:966666:6565:D:::6x6565::6::::655 k`47:A:L0;Hx;:?58?:?:$:666::9X666x;6666XD3X3 The Museum of Modern Art Media Conversation Laboratory Record   OBJECT NUMBER: 457.2007 ARTIST: John F. Simon, Jr. TITLE: CPU DATE: 1999 DEPARTMENT: Media CLASSIFICATION: Media DIMENSIONS: 14 x 10 x 3 " (36.8 x 26.7 x 8.9 cm) CONTACT INFORMATION: John F. Simon, Jr. 338-340 West 39th St, 7th Floor New York, NY 10018 OTHER OWNERS: MoMA purchased the 6th of 12 editions of CPU. The edition purchased by MoMA was owned by a private collector in Boston prior to MoMA The other eleven editions of CPU are held in private collections. MEDIUM: Software SIGNATURE: Signature is located on the back on the acrylic frame along with edition number. DEDICATED COMPONENTS: Apple Powerbook 280c attached to acrylic-plastic frame and AC adaptor (power cord). DESCRIPTION: The piece consists of deconstructed Apple Powerbook 280c attached to the front and back of an acrylic plastic frame. The screen of the computer is attached to the face panel of the frame and is turned 90. The computer is running a software program designed by the artist. The software is a key component of the piece. The software generates color and shape, primarily box shapes in combinations over two alternating schemas; these schemas appear as patterns but the display never actually repeats; instead it builds or accumulates in memory over time PHOTOGRAPHS IN CEMS: DOCUMENTATION PHOTOGRAPHS: DOCUMENTATION: Artist Statement: Yes, short statement in CPU Archival Documentation Exhibition Design Specifications: Yes, in MoMA Artist Questionnaire, CPU Archival Documentation and in Conservation Assessment and Recommendations on CPU Installation Instructions: Yes, same documents as Exhibition Design Specifications; see also artist interview Equipment Operation Instructions: Yes, in CPU Archival Documentation and Conservation Assessment and Recommendations on CPU; see also artist interview Staff Installation & Operation Notes: Other: Video and audiotapes from 2004 interview transcribed interview as part of the Guggenheim Museum program Variable Media: Emulation in Theory and Practice (http://www.variablemedia.net/e/seeingdouble/index.html) KEY DOCUMENTS IN FILES: CPU Archival Documentation MoMA Artist Questionnaire Conditions Governing the Temporary Deposit of Object with the Museum of Modern Art Copyright License Conservation Assessment and Recommendations on CPU (John F. Simon, Jr., 1999) for the Museum of Modern Art EXHIBITION HISTORY: 2004: Knoxville Museum of Art, Knoxville, TN 2003: ArtApparatus, Bryce Wolkowitz Gallery, NY 2002: SITE Santa Fe, Santa Fe, NM Digital Louisiana, Contemporary Arts Center, New Orleans, LA University of Iowa Museum of Art, Iowa City, IA 2001: Glee Painting Now, Palm Beach Institute for Contemporary Art, Ridgefield, CT 1999: Cyber Cypher Either End, Mario Diacono Gallery, Boston KEY QUALITIES: John F. Simon Jr. considers the code used in CPU to be the central component of the artwork. He notes that, when creating a new piece, if the source code remains the same, he calls the work an upgrade and not a new work. Thus, in his oeuvre, a new source code becomes the mark of a new work. The image is created when the code executes instructions for the movement and placement of basic graphical elements in a dynamic way. The results of the instructions are stored, or accumulated, on the hard drive, representing in data the changes occurring over time. CPUs source code is written in the C programming language. Simon is particularly fond of this language due to its simplicity as well as its broad range of functions. C is said to provide low-level access to memory, provide language constructs that map efficiently to machine instructions, and require minimal run-time support. It is an imperative (procedural) systems implementation language. Different from assembly languages, a procedural language supplies the computer with a continuing set of basic commands that it then executes. Although Simon has not yet revealed the code to owners of the piece nor made it open-source to a wider audience, it is available on a floppy disc and Simon does maintain human readable copies, presumably on hard drives. The C language is one of the most basic programming options available. It is human readable, which is helpful in assisting future conservators in gaining a basic understanding of the how the code is written. Should there be a problem with the code and neither Simon nor the back-up copies are available, there are hundreds of internet sources that can be consulted in order to determine the structure of the language. Furthermore, should these online resources be unavailable there are also countless print sources that outline the structure of the language. Such resources could be helpful in fixing breaks in the code. Due to its simplicity, the C programming language is often used in conjunction with other more complex languages. Simon, however, says that the CPU code is written purely in C and was written in MacWrite, the Mac equivalent to Microsoft Word. Considering the time that the piece was made, Simon was likely using MacWrite Pro, the final release of MacWrite prior to Apple's complete redesign and rewrite of the program, which was then released as Apple Works. Since he was probably using a later version of MacWrite Pro, there are early versions of Apple Works that could read the file. Reading the file should not be a problem. In the event of a failure, the Museum should, for as long as possible, attempt to copy the information onto another Powerbook 280c, which would hopefully have the proper OS in place. Should copying onto a computer with the proper system no longer be an option, Simon still works with and maintains the code for his pieces, including CPU. For this reason, it can be expected that he has already migrated the source code into a newer word processing program that would be easily readable from a modern computer. As his work has progressed, Simon has become increasingly interested in the function of the screen in the work. In the case of CPU, he notes that his positioning of the screen was essentially akin to literally putting a frame around a computer screen. Over time, he has incorporated the screen into a larger purpose that considers the aesthetic relationship between the screen and the displayed code as a central to the meaning of his work. Despite the simplicity of the screen in CPU, Simon still does consider the overall look to be a seminal aspect of the work that must be maintained. Despite this, Simon is very open to the light source in the screen used in CPU being converted from its original fluorescent bulb to an LED bulb. He feels that the two light sources are comparable. Furthermore, a fluorescent light source changes during its lifespan causing slight shifts in the appearance of the work. Contrastingly, an LED bulb offers a stable light source over its lifespan. Overall, however, he identifies the process of bulb-switching as too time consuming to be a reasonable option. Thus, he feels it is perfectly acceptable to simply replace the entire screen. Simon keeps the brightness adjustment dial for the monitor open and accessible. He expresses little concern about the specific brightness of the image when the work is on display and suggests that MoMA should feel free to adjust the brightness if they feel that the display is either too dark or too bright. Simon outlines two specifications for screen replacement. First, the size of the screen used in the piece must be maintained. In the past, he has had collectors request that their version of a piece have a big sized screen. Simon feels changing the screen size disturbs his original intentions and causes significant changes to his artwork. Secondly, Simon wants the inverter board (a component that controls the voltage to the screen and thus its brightness) associated with the original piece to be maintained. Newer screens do not require an inverter board in the front, so this may require salvaging the inverter board from the original screen and attaching that to the front. The look of the front of the work should be maintained. He cites an example of another work in which he replaced a screen with another that did not have an inverter board. He did not initially expect the absence of the inverter board to be an issue, but upon seeing this piece he realized that the presence of the inverter board was in fact important for aesthetic purposes as well as to maintain a tangible association with it computer components. In the event of a failure, he has tried to program the code so that it would, upon rebooting, return to the same point in the code at which it failed. Simon considers this a salient component of the work because the pattern displayed by the code does not repeat until an immense amount of time has passed. This tracking of the codes position over time is maintained by an accumulator. He notes that he has programmed a specific event to occur fifteen years into the piece. This event is an important aspect of the work. Simon is not concerned with replacing internal parts with the exact same parts. As long as the source code and accumulator are correctly copied to the new hard drive, Simon feels the integrity of the work is properly maintained. EXHIBITION DESIGN REQUIREMENTS: Installation layout: Equipment visibility Equipment/sculptural element location Height Ancillary equipment specifications: Cables Brackets Power requirements: CPU should be displayed in a location free from dust, moisture and extreme temperatures, not below 40 degrees (F) nor above 90 degrees (F). The area surrounding the work should also be free of fire hazards, and should allow for air circulation so that the artwork remains properly cooled. Simon prefers to have the power source showing or to have the work placed sufficiently away from the wall to allow the viewer to see the back. He feels that this is an important means of ensuring that the viewer understands that the work involves a simple laptop and that there is no further machinery powering the piece behind the museum wall. He notes that during the initial period he was making these works, there was some misunderstanding on the part of the viewers regarding how to interpret the work. Simon found that some viewers would identify the works as video art or simply not know how to define them. He feels that being able to see the computer made it clear it was a computer-based work TECHNICAL KNOWLEDGE NEEDED TO INSTALL THE WORK: Minimal technical knowledge required. INSTALLATION INSTRUCTIONS: CPU hangs from a plastic bar using one screw and two nails. The hole for the screw should be properly anchored. The bar should be leveled after the screw is almost completely inserted. The nails should be then driven in to hold the bar in place while the screw is completely tightened. The two holes on the top of the artwork fit over the nylon posts in the plastic bar. The laptops original power cord hangs from the bottom of the piece (to be plugged in nearby), intended to draw attention to the physical presence of the computer in the artwork. The power switch for the piece, however, has been positioned out of view, in part to discourage unwanted use. By plugging the cord into a surge protector with an on/off switch, the curator has the means to easily operate the piece as necessary. MoMA may turn the computer off when the museum is closed, but the system should be left plugged in after installation. The AC adaptor will plug into the wall socket or power strip. Simon recommends the use of a surge protected power strip, and suggested that MoMA may wish to connect the power to a switch for easy powering up and down. TIME ESTIMATE FOR INSTALLATION: 20 minutes MEDIA: CURRENT FORMATS AND ARCHIVAL MASTER: The media is the software that comes with the computer. There is a back up on disk. There is source code that can regenerate new software if needed. MEDIA STORAGE: The software for CPU is stored on the computers hard drive. There is a back-up disk with the software. The artist holds a back-up copy of the source code if the software needs to be re-generated. MEDIA CONDITION: Media is on hard drive and is in working condition. RISKS: In the long term, the greatest attention should be paid to the continued migration and refreshment of the source code, which is much less fallible, but significantly less replaceable than the other components of the piece. Periodic updates should be arranged to ensure that the source code does not become obsolete and irretrievable due to the continued evolution of technology. MEDIA RECOMMENDATIONS: Back up the code and the accumulator file (the contents of the hard drive) each time the piece is put into storage. To restore accumulator, MoMA should contact the artist. If the artist is unavailable, MoMA should reference the most recent documentation to restore the piece to its last known position. DISPLAY EQUIPMENT: DEDICATED DISPLAY EQUIPMENT: Artist-modified Apple PowerBook 280c TECHNICAL HISTORY: The artwork is largely composed of an Apple PowerBook 280c, which was originally released in 1993. One of Apples earliest subnotebooks, the 280c made use of a dock for connectivity to other devices and peripherals. Four compatible docks were manufactured to pair with Apples 200 series PowerBooks: the Duo Dock, the Duo Dock II, The Duo Dock Plus, and the MiniDock. The 280c, however, is only compatible with the Dock II or Dock Plus. One of the features of the model is its 8.4 inch 16 bit active matrix color screen, the most advanced of the 200 series, making it unique as compared to other models displays whose screens and parts are interchangeable. DISPLAY EQUIPMENT CONDITION: Working. RISKS: The likely points of failure are the PowerBooks screen and hard drive. The age of the computer, when combined with the type of heavy usage necessary for typical museum viewing, makes the eventual failure of the hardware an inevitability. The memory systems used in CPU are likely to be the first site of hardware deterioration. Hard drives stand at a crucial intersection of mechanical and digital technology, and the combination of high-speed motors and flimsy, magnetically encoded information leaves the system particularly vulnerable. Additionally, as computers are employed beyond typical schedules of obsolescence and replacement, complications arise in unexpected areas, such as the eventual break down of the polymer (Perfluoropolyether) used as lubricant. More common short term risks include prolonged exposure to humid environments (as well as the obvious risk, direct contact with liquid), excessive buildup of dust and foreign particles, any contact with magnets or magnetized objects, overheating, and electrical shock (static or otherwise). Hard drive failure is often preceded by warning signs that should be attended to. Excessive or abnormal noises emanating from the drive can possibly indicate emergent problems, whereas the appearance of bits of thin metallic foil in the vents suggests permanent failure within a matter of hours. The curator overseeing the artwork should also be aware of the operating speed of the software; should the program slow down, this might indicate a less immediate problem with the hard drives functionality. Aside from the hard drive, other weak spots in the technology include the screen and, to a lesser extent, the motherboard. The 280c was the first Macintosh laptop with a color screen which, while not particularly prone to failure, is more likely to burn out then current LCD models. The fluorescent bulb that lights the screen will eventually need to be replaced, as it will grow increasingly dimmer over time, eventually failing. While the screen in this edition of CPU appears to be free of dead pixels or other flaws in the construction process, these visual defects might also appear as the system ages. Fortunately, the screen can be removed from the mounting, and replaced if necessary. The motherboard is similarly replaceable, and is unlikely to fail before the hard drive or screen. RECOMMENDATIONS FOR DISPLAY EQUIPMENT: Simon is attached to the slimness of the work. For these reasons, in the event that problems occur with the piece related to this casing, it should be replaced by another Powerbook 280c. When fluorescent bulb gets too dim, replace entire screen instead of replacing bulb. Otherwise it is okay to replace fluorescent bulb with an LED one. RECOMMENDED DISPLAY EQUIPMENT PURCHASE: Stockpile Powerbook 280c computers. These are currently widely available. The computers need not be fully functional, as only certain parts may need to be used from them, and other parts only serve aesthetic purposes. The Museum may also consider purchasing one or two legacy screens with inverter boards intact. These could be used in the event that the screen needs to be replaced and the current inverter board is somehow damaged during the process and rendered unusable. If a new screen is used and does not require the inverter panel, the old inverter panel can be utilized and left visible on the front for aesthetic purposes (keeping the rectangle shape). SCULPTURAL COMPONENTS: Acrylic-plastic frame CONDITION: The acrylic frame is fine condition. It is attached to the computer via Velcro and industrial ?@DEU`h{ , . 4 6 P _   & ' ( 0 : F   %   8 ̮̘̘̑ h*3hhX0hh >hhAJhAJ6 h6~hh6~hH* h >hhAJh6 hX0hjhX0h5UjhX0h5UhX0h5hX0h5CJ4>?FG_`{|  = P Q _ ' ( : gd$a$gdii: ;    9 : O P k l { cmnoGC$Eƀʺfgdgd8 9 { ^aMPlmlmn!PS 1^afi$Cdg1!4!!!),,,,L-M-P-21a111134676Ľ׽׽׽˽׽˽׽׽׽׽ĵ߮ߦh >h5 h'hh >h>* h6~h h >hhh >h6hAJhAJ6 hX0hhX0h5!hlnhB*CJOJQJphAo!#` !01GC$EƀllFgd`gdgd1Z[LM!!!%"%))++,,,,,,,--&---6-7-gd7-L-M-o.p.2131d111133lFEƀlFgdGC$EƀrlFgdgd 34466C6D6K67777!8"89990:1:: 7$8$H$gdgdFEƀlFgd7686B6C6K6o677&7)7777 8"8)8>8?888895969x999990:1::;V;W;;;< <<<<<>>>>&>*>4>6>d???@@G۹hhOJQJ hh!h6hB*CJOJQJph h6~h!h]hB*CJOJQJph h'hh'hh >hX0hh >hAJhAJ6hX0h5h hX0h8::;C;D;d?f?????@@DDFF I!IIIGC$EƀlFgd 7$8$H$gdgdGGJJJJKKdM|MMhh0hBhChvhhh iwiiiiiiiiiiiiiiiiiiiiiiiiiiлʭʷhAJ0JmHnHu h0Jjh0JUhC=jhC=U h*3hhUhX0h5!hhB*CJOJQJph h6~h hX0hhAJhAJ6-IIJJJJJKKdMeM|MMM h h1h2hvhwhhhFEƀlFgdgdadhesive. RISKS: Yellowing due to UV exposure. RECOMMENDATIONS: Keep out of UV light to avoid potential yellowing. SHIPPING/PACKAGING: For storage, wrap the piece in static free plastic, styrofoam, and/or Tyvek. Do not wrap the piece in bubblewrap. CONSERVATOR: Students from Handling New Media class, Spring 2008, NYU Moving Image Archiving and Preservation Program. 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