What does it mean to archive care? Does archiving re-enforce limitations of thought, interpretation, and/or action? We ask these questions in the context of more and more demands on digital archives by new big data and AI technologies that corrupt one of the basic functional necessities of the archives, to document and preserve. Now, the new paradigm poses a contradiction for researchers who are expected to yield validated outputs and extends the function of the archive beyond its historical context, transforming it into tools that generate a-historical content that emulates fiction rather than accounted factual information.
Let us not begin at the beginning, nor even at the archive.
But rather at the word ‘archive’-and with the archive of so familiar a word. Arkhē, we recall, names at once the commencement and the commandment.1
For this COST funded symposium we return to the beginning and scrutinise methodologies of archiving, the specifics of data, database, and content.
The speakers, Rose Butler, Amine Haj Taieb, Kaitlene Koranteng, Alessandro Ludovico, Rosa Menkman, Paul O’ Neill, Christos Panagiotou, Paula Perez-Roda, and Morten Søndergaard, were selected through an open call.
1 Jaques Derrida. Archive Fever. The University of Chicago Press, 1996
Speakers
Alessandro Ludovico: Temporary and Distributed Libraries, instigating archive dynamism
The central role of the library as a central cultural system is transforming into a still undefined new kind of cultural body. This process is influenced by the spontaneous creation of different types of DIY or temporarily available libraries.
Libraries should evolve from their historical and “monumental” role providing socially relevant services to an expanded, networked and shared knowledge infrastructure that competes with the online type of “instant” knowledge by facilitating social and cultural exchange, including the acknowledgement of so-called “custodians.”
Two of the possible approaches to initiate such a process, which would open up and socialise the library system even more, are the creation of ‘temporary libraries’ to meet specific knowledge needs during cultural events, which then become permanent resources, and of ‘distributed libraries’ to integrate relevant collections of specialised knowledge accumulated elsewhere into the traditional library system without structurally interfering with it.
These dynamic approaches to librarianship can, within their respective processes, help to create different abstract and relational models to draw upon.
Alessandro Ludovico is a researcher, artist and chief editor of Neural magazine since 1993. He received his Ph.D. degree in English and Media from Anglia Ruskin University in Cambridge (UK). He is Associate Professor at the Winchester School of Art, University of Southampton. He has published and edited several books, including Post-Digital Print (Onomatopee) and Tactical Publishing (MIT Press), and has lectured worldwide. He also served as an advisor for the Documenta 12’s Magazine Project. He is one of the authors of the award-winning Hacking Monopolism trilogy of artworks (Google Will Eat Itself, Amazon Noir, Face to Facebook).
Paula Pérez-Roda: From Data/User to Text/Artist. A Popular Archive After the Decline of Social Media
According to Couldry and Mejias (The Costs of Connection, 2019), data colonialism would have followed the trail of industrial capitalism: after the dispossession of the universal human activity called “work” having been effected, colonialism would also turn its counterpart, intimacy, into a marketable abstraction. Offered in interfaces that prioritise the capture of information, intimacy “à la social networks,” from WhatsApp to Instagram, would have given rise to the normalisation of a sociability as dispossession. The presentation —and the artistic research project in which it is framed, “Ex-User Experience/Formas de matar el mundo“— seeks to displace the synchronous effect of Social Media connectivity to a present past (Koselleck) , through the creation of a collection of digital interactions, experimentally called a “secret and popular instant messaging archive”. The archival move aims to put in question marks the encroaching pluridimensionality of platform capitalism and “cloud culture.”
Paula Pérez-Roda’s research, developed at Hangar (Barcelona), departs from the hypothesis that the current technodependence of our intimacy on platforms and their designs modifies the formless consistency of affects, and their artistic and popular aesthetics, to make them “data” – emulating structures of “commodities.” The presentation will explain the different exploratory tactics developed so far: (1) attempts for the speculative development of a “data garden” with the ruins that Facebook, Twitter and Instagram provide to their “users,” following an archaeological aesthetics; (2) plausible guidelines of anonymisation, following a conceptual proposal that confronts the European Union General Data Protection Regulation with the different intellectual property laws of the member countries and other states and (3 ) a model to make possible, or at least thinkable, the donation of private WhatsApp conversations, pointing at the “expropriation” of our conversations from the platform for their conversion into cultural and verbal heritage.
This presentation, therefore, seeks to open dialogues around the archival possibility of recovering our “text-affective energies” in the framework of a hypothetical —and desirable— social mission to make more liveable the shift to a scenario for the expiration of social networks and their ways of organising the experience of human life.
Paula Pérez-Roda, aka Paula Pérez-Rodríguez, holds a PhD from Princeton University (2023) and is a researcher, editor, and artist –currently a research fellow at Hangar.org in Barcelona. Their work combines a focus on the cultural and technological history of Spanish literature and the verbal arts with critical and literary theory and speculative thinking. They have led workshops and seminars, and published essays and articles (in academic journals and books, artbooks and general readers publications), on the intertwining of music, poetry and performance and the historical clashes of vernacular cultures and literate orders, and have presented artworks and performances at exhibitions and events like ple de forats (Santa Mònica Art Center, 2023), what about support and what about struggle (L’Internationale, 2020) or Poem Room (Conde Duque, 2021), among others.
Christos Panagiotou: Living Archives: Memory as a place of cultural encounter
The main thesis of this presentation is that Modernity has imposed a detached perspective on the past, treating the archival practice as a kind of “independent” and “impersonal” process of representing the past and articulating the collective memory, based on a Cartesian duality between subject and object, between human and the environment, between cause and effect, between the past and the present. The past has become an inanimate repository, a “fossil” to be looked at but not to be lived. The complexity of its human component has been transformed into monolithic discrete variables located on a temporal axis or on geographical coordinates that lack significance and relevance to actual enlivened cultural experiences.
This distanced view is often justified by claims to a positivist “objective” approach to history and collective memory, because, on the surface, it appears to be free of any subjective biases and perceptions. This is misleading, however, as power dynamics are embedded in the way the past is archived. The archive, in this setting, loses its social and cultural significance and becomes merely an apparatus of political power. Colonial fantasies, fascist imaginaries and ideological discourses often employ the “archive” as a material to construct narratives that open rifts between temporal and geographical locations to create an impression of “otherness” and justify violence and imposition.
The aim of this presentation is, therefore, to find ways for democratising the archive and reintegrating it into the community as an active, vital site of contact between societies, cultures, and temporalities rather than treating it as a detached agent of enclosing the past in lifeless archival forms for a mere self-affirming speculation for the “Modern” subject. To liberate the archive from its “empty” temporal and spatial signifiers and to transform it into a site – a place, not just a “location” – of social and cultural interaction by restoring its social and cultural significance and function in a democratising way, rather than allowing it to remain as an instrument of ideological assertion
Based on a quasi paradoxical Lacanian-Deleuzian approach, we try to deterritorialise the “archive” from its Modern understanding and to find new modes of archiving and registering the – collective – past, and thus different modes of narrating the collective memory. Lacanian theory is a useful tool to give us an insight into how a subject perceives, signifies and records reality, and the Deleuzian perspective – in its broader sense – will inform us on how the archive might take on a non-dualist and non-causal form, allowing it to retain its vitality and escape the Cartesian subject- object mode of understanding that creates detachment and asymmetrical power dynamics.
The presentation will refer to digital interactive projects that deal with this issue and that, in our opinion, succeed in this endeavour. At the same time, inspired by these works, a theoretical framework for new forms of “archiving” and “narrating” memory will be developed, based on the notion of “metaphor” as interpreted by Lacanian theory, but also heavily influenced by the philosophical approach of Gilles Deleuze, the anthropological thinking of Tim Ingold and the socio- cultural approach of Iain Chambers and his reflections on the archive.
Metaphor in this sense, is to be seen as a site of temporal and spatial convergence, as a “bridge” that bridges the distance between the subject who records and the object that is being recorded, between the past and the present, between memory and experience, between the archive and the social expression.
Christos Panagiotou is a researcher and digital artist based in Limassol, Cyprus. He holds a Ph.D. from the Department of Communication and Internet Studies of the Cyprus University of Technology, an M.A. in Art History and Theory from the Department of Fine Arts, and an M.A. in Interactive Multimedia from the same university. His academic and artistic practice examines the topological properties of time and space as they appear in discourse, narrative, meaning and identity. He also studies the pre-modern characteristics of narratives for collective memory in Cyprus, particularly during the Ottoman period, linking them to the broader cultural, social and eco- cultural characteristics of the pre-modern and “alter-modern” Mediterranean as discussed by Peregrine Horden, Nicholas Purcell, Iain Chambers and David Abulafia. He has participated in art exhibitions and conferences in Cyprus and abroad on psychoanalysis, politics and art.
Paul O’ Neill: Critical Resource: The WhoIs Protocol as an Archive of the Internet
Beginning with a ‘ghost’ internet protocol address once registered to an American tech company based in Ireland, this presentation will focus on his ongoing research into the WhoIs protocol as public directory and archive, incorporating outcomes from a recent residency at the Media Archaeology Lab (University of Colorado Boulder). WhoIs refers to the protocols, services and data types associated with Internet naming and numbering resources (icann.org, 2024) – initially proposed in 1982 and presently defined in RFC 3912 (ietf.og, 2024), the protocol is administered by the Internet Corporation for Assigned Names and Numbers (ICANN) and its various regional registries. It contains hundreds of millions of individual entries each with data on domain name registration and expiry dates, details of technical administrators, IP addresses of name servers, and assorted other technical information (Muller, 2002).
However, as an archive there are limitations. The information offered through the WhoIs protocol contains many inaccuracies and inconsistencies (Gañán, 2016), and recent supranational legislation centred on privacy, such as the European Union’s General Data Protection Regulation (GDPR), have seen restrictions on the information available. Furthermore, in 2015, ICANN introduced the Registration Data Access Protocol (RDAP) as a replacement to the WhoIs protocol as a means to offer more secure access to data, increased standardisation, a user-friendly format and greater support for internationalisation (icann.org, 2024).
Critical internet resources such as IP addresses and domain names have crucial ‘technical, economic, and political implications’ (DeNardis, 2009), and generate concerns in relation to their governance, accessibility, and distribution among institutions and nation-states, along with entities that hold an economic interest in their possession and allocation (ibid.). Consequently, the distribution of such resources documented and archived within the WhoIs protocol provide not only a critical understanding of the global infrastructure of the internet both past and present, but also offer insights into related issues centred on resource scarcity, hegemony and corporate control. This presentation argues that the WhoIs protocol as archive offers a reminder of the ‘rigidly defined hierarchies’ around which the Internet is structured (Galloway, 2004), while considering creative and critical methods in which the protocol can be engaged with and preserved.
Paul O’ Neill is an artist and scholar currently based in Ireland. His practice and research are concerned with the implications of our collective dependency on networked technologies and infrastructures.
Paul is an Assistant Professor at the Huston School of Film & Digital Media, University of Galway and an academic collaborator with the ADAPT Centre for AI-Driven Media Technologies.
Paul has exhibited and presented his work at various cultural institutions and events including Science Gallery (Dublin), Ars Electronica festival (Linz) and InSpace (Edinburgh) and his writing has featured in publications from the Institute of Network Cultures (Amsterdam) and ANNEX – Ireland’s representative at the 2021 Venice Architecture Biennale. He has also been awarded residencies with the Media Archaeology Lab (University of Colorado Boulder) and as part of the European Media Art Platform programme (EMAP).
Kaitlene Koranteng: Representing Artistic Practice
Koranteng proposes an exploration of the Artist File Collection at the Institute of International Visual Art (iniva) and delve into questions representation that have occurred whilst archiving this collection. The Artist File collection largely contains ephemeral material connected to artists, exhibitions, and artwork. The collections, accumulated throughout Iniva’s existence, document relationships, conversations, and emergent visual arts practices.
Often artists who are marginalised are presented outwardly through the lens of ethnic or cultural background and this information is privileged above all else. This also rings true with many artists represented within iniva’s Artist Files archives. This creates bias, which means artistic practice can be documented and preserved in the archive very myopically. The submission of ephemeral materials linked to an artist can be an indication of how an artist would like their practice to be represented either through an artist submission, and analysis of this information can form a basis for beginning to counteract bias.
In her presentation she aims to highlight how we critically evaluate how information is privileged while cataloging materials with said information. This presentation will highlight considerations needed for the archiving of an artist and their artistic practices, especially when it may exist in cohesion or contention with their cultural or ethnic identity.
Through looking at questions representation in this context she hopes to inform on methodologies to combat bias while cataloging archival material. The process of cataloguing this archive is still underway, so she endeavours for a presentation to also be reflective space to learn further and implement a care-led in the archiving of iniva’s Artist Files Collection.
Kaitlene Koranteng is an archivist, engagement producer and poet, with an interest in exploring marginalised histories and access to archives. She was project Archivist for Transforming the National Collection Project UAL Decolonising the Arts Institute (2022 – 23). Since 2022, Koranteng works with Iniva, the arts organisation committed to disseminating radical and emergent contemporary art practice from Global Majority, African, Asian and Caribbean perspectives. Koranteng is part of a group of archivists and librarians working with Library of Africa and the African Diaspora, coordinating member of the Young Historian Project and editorial board of History Matters journal, an accessible, free journal sharing histories of African and Caribbean People in Britain.
Rose Butler: Failed Footage
The Federal Commissioner for the Records of the State Security Service (BStU) of the former German Democratic Republic (GDR) was the first institution established worldwide to make secret service files publicly accessible. This was in response to the demands made by citizens of the GDR during the Peaceful Revolution (1989). 111km of documents are held in the Stasi Records Agency archives, with 50km of them held in the BStU central office. The audiovisual material is detailed on the BStU website as 1.8 million photographs, microfilm and slides, 2,866 films and videos, 23,700 audio recordings and 54 Ministry for State Security (MfS) data projects.
Surveillance methodologies incorporating processes of observation, technique, imaging and analysis, have extensive material and processual crossovers with the work of artists. As practitioners who specialise in vision and interpretation, artists are acutely aware of the effect that new technologies have on the ways in which we ‘see’ and are able to ‘look’, this is particularly true of technologies centred on visioning. Observation, analysis and interpretation of our environment and behaviour lies at the heart of traditional, as well as contemporary art practices, presenting many similarities with the methods and techniques of surveillance.
This presentation will discuss photographs, films, files and video footage selected from the Stasi Archive as part of doctoral study (2023). The study commenced at the Houses of Parliament, London, during the passage of the Investigatory Powers Act (2016) digital surveillance legislation that significantly extended the UK’s surveillance capabilities. It was followed by an analysis of archival film, video and photography from hidden cameras at the Stasi Records Agency, that had failed, is sabotaged or misses its subject.
She will examine the experience of the ‘archive;’ the journey that informed the selection of material; the transition of surveillance material into archival material; the care that informs legal safeguarding; the ways in which material qualities bring about insights and understanding of contemporary surveillance and data, and the search for definition that takes place within images, arts methods, surveillance and ethics.
Research findings emphasise, iterative, nuanced and minor processes founded in making art that extend technique through grounded, situated and relational critique. The study emphasises the importance of arts research within wider contexts and its potential to question established research orthodoxies.
Rose Butler is an artist, researcher and senior lecturer of Fine Art based in Sheffield, UK. She holds a Ph.D from the Art and Design department, Sheffield Hallam University.
Her arts practice uses adapted technology, software and new media, alongside early cameras and analogue processes to make interactive installations, single and multi-screen videos or large-scale photographs. Current research examines borders, definition, resolution, media archaeologies and the image. It crosses paths with the politics of big tech and surveillance and considers hard to access, contested or sensitive spaces and communities. She works with the material qualities of image-making defined by both historical technique and technological advance, and the different affordances and knowledge production technologies enable. Projects result in multiple outputs such as artefacts, exhibitions, artists talks, performances, presentations, publications and awards. Rose is particularly interested in interdisciplinary practices and has presented at many conferences in the UK and abroad foregrounding arts research methods.
Morten Søndergaard: From Audiobar to Paracolonial Archiving: Rewriting Collective Care Beyond Storage
“Memory is not storage,” as Wendy Chun reminds us; “Memory is not something that simply remains: if any memory remains it is because it is constantly regenerated. The conflation of memory and storage is dangerous because it fosters a misleading ethos that forgets the collective care and effort—good and bad—that goes into any memory’ (Chun, 2016, p. 18).
In his talk, Morten Søndergaard will show-case two examples (maybe extremes?) from the past 25 years of archive work. First example is the Audiobar, which when first produced in 2006 provided an interface to an archive of sound art. As an art form that received absolutely no care at the time, this was part of the idea and project – to construct a digital archive experience of sound art.
Pia Arke builds her paracolonial archive of care and effort throughout her career by developing a method of exscribing, in the sense of Jean-Luc Nancy and later refined by Wendy Chun (Nancy, 1988/2013; Chun, 2012). The paracolonial archive is exactly that: an enhanced and expanded retextualisation of forgotten, untold, and unheard people and memories by rereading and rewriting them again and again, as they are unfinished and delayed: “In my delayed and unfinished settlement of accounts with colonial history I include a lot of stories that family and friends in and outside Scoresbysund, Greenlanders and Danes have opened up for me, a confused cluster of memories attached to and released by these photographs taken in Scorsebysund and spread for the north wind. I make the history of colonialism part of my history in the only way I know by taking it personally” (Arke, 2010, p. 13).
The practice of Greenlandic artist Pia Arke refers to such double archival extractivism: one that is an actual extraction from the territories of Indigenous lands but revisited and retold (and rewritten / reimagined) leading to a possible new position of Arke as an Inuit artist; and another, more personal archival extractivism, an extraction of herself or an extractivism that is “taking colonialism personal,” as Arke writes (Arke, 2010, p. 13).
Arke’s work is founded in the dislocation and the hybridity of her multiple identity, being of both Inuit, Danish and European descent. She continually questions how to operate as an artist being from Greenland with a Danish father and an Inuit mother, with training in an art academy in Copenhagen. Intensively challenging the technoscientific culture of the West and its role in the construction of a postcolonial identity, she is left within a zone of endless doubts and interpretations, bringing her to a geo-ethnographical brink, searching for that which Edward Said referred to as “beginnings” of inscribing postcolonial reality and psychology into intertextual relations of lands and persons, geography, and identity. (Said, 1975).
In the process, she grapples with the relationships among many disparate simmering feelings and faded things, fragments and forgotten places, memories, and people, investigates all kinds of methods—artistic, ethnographic, anthropological, scientific, and works at reremembering them. So, even though the existing artistic modes of expressions and the aesthetics posited by the art world that she encountered at the art academy in Copenhagen in the 1990s provoked the beginning of her double extractivist project, they soon proved inadequate for continuing it; something is missing. What was missing, I argue, is what the rest of her artistic life is and will be about: the formulation of a transethnic aesthetics by collecting the material and ideas for its foundation into a very personal, paracolonial archive.
In his talk, he will show how Arke builds her paracolonial archive of care and effort throughout her career by developing a method of exscribing, in the sense of Jean-Luc Nancy and later refined by Wendy Chun (Nancy, 1988/2013; Chun, 2012). The paracolonial archive is exactly that: an enhanced and expanded retextualisation of forgotten, untold, and unheard people and memories by rereading and rewriting them again and again, as they are unfinished and delayed: “In my delayed and unfinished settlement of accounts with colonial history I include a lot of stories that family and friends in and outside Scoresbysund, Greenlanders and Danes have opened up for me, a confused cluster of memories attached to and released by these photographs taken in Scorsebysund and spread for the north wind. I make the history of colonialism part of my history in the only way I know by taking it personally” (Arke, 2010, p. 13).
(Also in dialogue with 30 years of his own practice in digital archive experience (Søndergaard, 1994, 1996, 1999, 2004, 2005, 2009, 2012, 2018, 2019, 2023)), he will show that Pia Arke (un)writes memories out of their simple storage and rewrites and regenerates them, essentially extracting them from their postcolonial condition, into a very personal and critical archive revisiting the effort and care that must come after ‘beginnings’: A care that calls for collective action beyond storage.
Morten Søndergaard is an internationally acclaimed curator and associate professor in media and sound art at Aalborg University, Denmark. He is academic director of the Erasmus Master of Excellence in Media Arts Cultures. On top of his own sound practice, MS is presently engaged with sound curation at SUNY college in New York, Struer Sounding City in Denmark and Momentum Festival in Norway.
Morten Søndergaard is the founder of the conference series POM Politics of the Machines (with Laura Beloff) (since 2017) and ISACS.Sound Art Curating Symposia (with Peter Weibel) (2010-2017). He has published and curated several sound and media art exhibitions internationally, including Kiasma, ZKM, Rupertinum, Ars Electronica, Eyebeam NY, Utzon Center Aalborg, Kunsthal Aarhus, and Museum of Contemporary art in Roskilde.
He generally works with media and sound in transdisciplinary, constructive, critical and creative maker settings and developing theory and ideas from those settings. I have a background as a professional curator at contemporary art museums with a focus on sound art (via the legacy from Fluxus mostly). And more currently, he teaches sound and sound art and media art in theory and practice.
Rosa Menkman: Archiving a Research Based Artist Practice
Rosa Menkman, works as both an artist and a researcher specialising in resolutions. By the “setting of a resolution,” she refers to the process of choosing a mode of functioning, which necessarily always involves trade-offs and compromises.
In her work, she uses the “angel of history” (as described by Walter Benjamin in 1940) as a framework for resolution studies. Although the angel is not always the protagonist in each of her works, she is the main character of a storyline Menkman started in 2009. This is how her practice forms an ongoing, growing collection of works; while the individual artworks can stand alone, the projects all connect back to a larger, non-linear whole. Presenting this super structure framework in some type of coherent insightful manner is crucial, because it easily remains obscure and not understood.
Many art projects are supported by a research project. Research, to Menkmen, means to cast a net around a subject: to gather a collection of perspectives around a certain subject, that help draw a conclusive insight. Here too, presentation is of great importance – and her deeper research archives are all findable on her website.
Working in new media often means dealing with unstable materials (especially when working with glitches and resolutions). It requires to stabilise, upgrade or face obsolescence. For instance, Menkman’s 3D/VR works (Xilitla, DCT:SYPHONING) need an upgrade or will become unplayable. And her glitch work works requires stabilisation (or an archive containing both the unstable and stable versions). However, this type of archiving is often ad hoc and not ideal for long-term preservation.
This is why she is also a founding member of the TRANSFER Data Trust, initiated by TRANSFER (Kelani Nichole), which aims to develop a deep, permanent archiving method. The Trust is a decentralised, artist-owned archive and a cooperative value exchange network. It uses smart contracts and decentralised storage to ensure that artworks are preserved for future generations. Our mission is to maintain these artworks in perpetuity, ensuring their preservation and accessibility across generations.
The Data Trust manages and enhances the value of digital assets, supported by a network of specialists. This care model – which is still in development – offers a novel approach to media art valuation, conservation, and governance.
For the Archiving Care training school, she will present the three different ways she approaches and manages her own archive of art and research.
Rosa Menkman is a Dutch artist and researcher of resolutions. The journey of her protagonist, the Angel of History—inspired by Paul Klee’s 1920 monoprint, Angelus Novus, conceptualised by Walter Benjamin in 1940—functions as a foundational framework for her explorations of image technology.
In her narrative, the journey of the Angel cuts through a landscape covered in piles of obsolete technology, stifled by trade-offs, obscured in standard settings. As the Angel navigates the endless spiral of digital ‘advancements’, her story probes an ecology of resolutions, examining the trade-offs between function and compromise in the fields of image processing.
In her written research, Rosa focuses on noise artefacts, that result from accidents in both analog and digital media. As a compendium to this research, she published the Glitch Moment/um (INC, 2011), a book on the exploitation and popularisation of glitch artefacts.
She further explored the politics of image processing in Beyond Resolution (i.R.D., 2020). In this book, Rosa describes how the standardisation of resolutions is not only a process that promotes efficiency, order and functionality, but also involves compromises, and as a result, the obfuscation of alternative ways of rendering.
In 2019, Rosa won the Collide Arts at CERN Barcelona award, which inspired her recent research in im/possible images, consolidated in the im/possible images reader (published by the i.R.D. & Lothringer, with support from V2, 2022).
From 2018 to 2020 Rosa worked as substitute Professor Neue Medien & Visuelle Kommunikation at the Kunsthochschule Kassel. Since 2023, she has been running the im/possible lab at HEAD Geneva.
Amine Haj Taieb: Research Data Management (RDM) in Art and crafts archive
In this paper, we are particularly concerned with Research Data Management (RDM) in Art and crafts archive. Handling research data is, thus imperative to the continuity and veracity of research work.
To that end, research data management (RDM) is a discipline concerned with making data to be accessed as easily as possible by peers, contributors, and readers.
In the scope of this work, we will refer to research data as simply “data,” which, more specifically, refers to digital forms of data unless otherwise specified. But what is data in Art, What do you mean by metadata? Why it is important to store it and to manage it? What are the FAIR principles? Why and how we need to recording data efficiently? What is the importance of RDM in the storage of data in Arts?
What are the Data Collection Methods, Benefits of Research Data Management as a methodology of archiving, the specifics of data, database and content.
Finally, how RDM can serve as a basis for the development of alternative, which introduce new ecologies of preserving, sharing, and utilising knowledge?
Dr. Amine Haj Taieb holds a Ph.D. In textile Engineering and Masters in Textile Engineering from ENIM University. He holds also a textile engineering degree from ENSAIT, Roubain in France. He has a vast experience in the Fashion and textile industry and is currently the academic Team Leader and a senior lecturer at the department of Design of the Higher Institute of Arts and Crafts of Sfax at the university of Sfax. He coordinated also different international projects such as Wintex and Fashion for tomorrow.
He implemented many successful sustainable development projects such as the fashion for tomorrow in the programme of “Creative Europe”. During this programme International fashion shows events and International textile conferences in Tunisia and Europe with different International stakeholders, designers and early career designers to paves the way for a modern, humanistic, sustainable and fashionable thinking by bringing a new input on the audience taste cultivation towards sustainable fashion, promoting textile heritage and cultural diversity. This project among others promotes innovation of civic education in culture, professionalism, value and quality in the culture of fashion. It brings performance in the fields of creative industries by structured development of new forms of artistic expression, encouraging awareness of the benefits of the collaboration of specialists and artists from various cultural fields with focus on the performing arts, sustainable fashion design, intercultural learning, formal and non- formal education. This project highlights the important role of the Creative Cultural Design Industry sector in the social-economic-environmental dimensions.
His research has also national/international impact through different publications International Journals such as the article entitle “Design of woven meta-materials for electronic textiles for functional applications” in the Journal of textile Institute.
He supervised more than 30 research master degree students in different fields of design such as product design, graphic design and space design. In addition he has supervised Ph.D. students in Arts and mediation, with the main research topics dealing with Care design; Smart, functional textile design; Product Design strategies for Sustainability; and Textile and social innovation.