Work作品
responding to: single-channel video当前依据：单频影像A 4K single-channel video, 11′22″, stereo. There is a master, an exhibition copy, and a written spec: duration, frame rate, aspect ratio, loop behaviour, sound level.
一件 4K 单频影像，11′22″，立体声。存在一个母版、一个展览拷贝，以及一份书面规范：时长、帧率、画幅、循环方式、声压。
The file is not the work. A loop with a visible seam, a screen at the wrong refresh rate, or sound bleeding from the next room already changes what a viewer receives.
文件不是作品。接缝可见的循环、刷新率不对的屏幕、隔壁展厅漏进来的声音，已经改变了观众收到的东西。
If the spec is met and the room is wrong, has the work been shown?
如果规范都达标，而房间是错的，这件作品算被展出了吗？
Which properties of this video are the work, and which are only how it was rendered on one particular day?
这段影像中，哪些属性是作品本身，哪些只是它某一天被渲染出来的样子？
Research notes研究依据
- documented文献依据 Matters in Media Art (Tate, MoMA, SFMOMA, New Art Trust) separates the work from its carrier and records artist-stated display properties at acquisition.Matters in Media Art（Tate、MoMA、SFMOMA、New Art Trust）在入藏阶段将作品与其载体区分，并记录艺术家陈述的展示属性。
- documented文献依据 The Variable Media Questionnaire (Guggenheim / Ippolito) asks artists which behaviours must persist across future versions.Variable Media Questionnaire（古根海姆 / Ippolito）询问艺术家：哪些行为必须在未来的版本中延续。
- interpretation解释 The specimen here is composite. No single existing artwork holds all three states at once.此处的标本为合成。没有任何一件现存作品同时具备这三种状态。
Source源头
responding to: single-channel video当前依据：单频影像Authoritative means the preservation master with its checksums, plus the installation specification. Institutional practice separates preservation master, duplication master and exhibition copy.
权威版本＝带校验值的保存母版，加上安装规范。机构实践区分保存母版、复制母版与展览拷贝。
The exhibition copy travels; the master stays. Two years later nobody can say which copy the last venue actually played, or at what volume.
展览拷贝在路上，母版留在库里。两年后没人说得清上一家场馆到底播的是哪个拷贝、音量多少。
Does authority sit in the file, in the checksum, or in the document that says which file is the right one?
权威性在文件里、在校验值里，还是在那份说明「哪个文件才对」的文档里？
Who is authorised to make the next exhibition copy — and where is that recorded?
谁有权制作下一个展览拷贝？这件事记录在哪里？
Research notes研究依据
- documented文献依据 Matters in Media Art distinguishes preservation master, duplication master and exhibition copy, with fixity checking by checksum.Matters in Media Art 区分保存母版、复制母版与展览拷贝，并以校验值进行完整性检查。
- documented文献依据 Rhizome’s ArtBase archives born-digital works together with emulation-based access tools, keeping works runnable rather than only described.Rhizome 的 ArtBase 将原生数字作品与基于模拟的访问工具一同存档，使作品保持「可运行」而不仅仅「被描述」。
- documented文献依据 Feral File’s DP-1 proposes an open, machine-readable description of how a digital work should be played back.Feral File 的 DP-1 提出一种开放、机器可读的描述方式，用于说明数字作品应如何被播放。
Identity & Rights身份与权利
responding to: gallery, calibrated OLED当前依据：画廊 · 校准 OLEDEdition 3 of 5, with a certificate. The collector holds the edition; the artist holds copyright. This exhibition runs on a loan agreement with dates, opening hours and a stated daily run time.
版数 3/5，附证书。藏家持有版数，艺术家持有著作权。本次展出依据一份借展协议：日期、开放时间、每日运行时长。
Little breaks here — this is the case the paperwork was designed for. It still takes four parties and a month of email to state it.
这里几乎没有断裂——文件体系正是为这种情况设计的。但把它说清楚，仍然需要四方和一个月的邮件。
What does a gallery actually receive: the work, a file, a permission, or a relationship with the artist?
画廊真正收到的是什么：作品、文件、一项许可，还是与艺术家的一段关系？
When the loan ends, what must be deleted, and who verifies the deletion?
借展结束后，什么必须被删除？由谁来核实删除？
Research notes研究依据
- documented文献依据 Mint, ownership, exhibition permission and the right to modify are separate instruments. A token records a transaction on a chain; in most jurisdictions transferring copyright requires a separate signed writing.铸造、所有权、展出许可与修改权是彼此独立的工具。代币记录的是链上一笔交易；在多数法域，著作权转让需要另行签署的书面文件。
- documented文献依据 Manifold lets artists deploy their own contracts, so edition and provenance sit under the artist’s contract rather than a marketplace’s.Manifold 让艺术家部署自己的合约，使版数与来源记录归于艺术家自身的合约，而非某个交易平台。
- documented文献依据 Time-based media loan agreements commonly specify permitted duration, daily run time, number of copies, and deletion at the close of the loan.时基媒体的借展协议通常规定：允许的展期、每日运行时长、拷贝数量，以及借展结束时的删除义务。
Discovery & Curation发现与策展
responding to: gallery, calibrated OLED当前依据：画廊 · 校准 OLEDThe curator saw the work running in a group show, then asked for a private link, a PDF and a technical rider. Selection happened through a person who had already been in the room.
策展人在一个群展里看见它运行，随后索要私密链接、PDF 与技术附件。选择的发生，依赖于某个曾经在场的人。
Discovery still depends on having been in the right room. Nothing about the work is searchable by the conditions it needs.
发现仍然取决于「是否到过那个房间」。作品所需要的条件，无法被检索。
Could a work be discoverable by the kind of space that fits it, and not only by the artist’s name?
一件作品能否通过「适合它的空间类型」被发现，而不只是通过艺术家的名字？
What would a curator need to know before asking for a file?
在索要文件之前，策展人需要先知道什么？
Research notes研究依据
- documented文献依据 Feral File organises curated exhibitions of digital work with published curatorial and technical notes.Feral File 举办经过策展的数字艺术展览，并公开策展与技术说明。
- documented文献依据 Established galleries, Pace among them, have run dedicated digital-art programmes alongside their physical exhibition calendar.包括 Pace 在内的成熟画廊，已在实体展览日程之外设立专门的数字艺术项目。
- interpretation解释 We found no current practice that makes a work searchable by the display conditions it requires.我们未发现有哪种现行实践，能让作品依据其所需的展示条件被检索。
Transfer传递
responding to: single-channel video当前依据：单频影像What travels: an exhibition copy on an encrypted drive or a download, a checksum, a playback specification, and often a media player configured before shipping. Platforms such as Niio and Blackdove deliver to screens as a licence-bound stream instead of a handover.
真正在移动的是：加密硬盘或下载链接里的展览拷贝、校验值、播放规范，通常还有一台出库前已配置好的播放器。Niio、Blackdove 这类平台则以受许可约束的串流方式直接送达屏幕，而非交付文件。
Ship the file alone and the venue will play it in whatever player it already owns, at whatever settings the last exhibition left behind.
只寄文件，场馆就会用他们手上现成的播放器、以及上一个展览留下的设置来播放它。
Is an exhibition copy an artefact, or a temporary permission that happens to take the form of a file?
展览拷贝是一件实物，还是一项恰好以文件形式存在的临时许可？
Should the player travel with the work?
播放器是否应当随作品一起移动？
Research notes研究依据
- documented文献依据 Niio and Blackdove distribute digital works to displays as licence-bound, controlled playback rather than as open files.Niio 与 Blackdove 以受许可约束的受控播放方式将数字作品分发到屏幕，而不是交付开放文件。
- documented文献依据 DP-1 (Feral File) proposes an open specification so that a playlist of digital works can move between compliant players.DP-1（Feral File）提出一套开放规范，使数字作品的播放列表能够在兼容播放设备之间迁移。
- documented文献依据 Museum practice commonly ships an exhibition copy together with a configured player and an installation specification.美术馆实践通常将展览拷贝、已配置的播放设备与安装规范一并寄出。
Display Environment显示环境
responding to: gallery, calibrated OLED当前依据：画廊 · 校准 OLEDA calibrated OLED in a dim room: near-zero black level, the full frame, controlled ambient light, a viewing distance of two to three metres. The display disappears and the image becomes the condition.
暗室中的一块校准 OLED：近乎为零的黑位、完整画幅、可控环境光、两到三米的观看距离。显示设备消失，图像成为条件。
Almost nothing. This is the reference case — and it is also the only case the artist has actually approved.
几乎没有断裂。这是参照状态——也是艺术家唯一真正确认过的状态。
Whose reference is it: the artist’s studio monitor, this gallery’s panel, or the curator’s memory of another room?
这是谁的参照：艺术家工作室的监视器、这家画廊的屏幕，还是策展人对另一个房间的记忆？
What would a reference viewing state look like if it were recorded rather than remembered?
如果参照观看状态被记录、而不是被记住，它会是什么样子？
Research notes研究依据
- documented文献依据 Ars Electronica’s Deep Space 8K in Linz projects onto wall and floor surfaces of roughly 16 × 9 metres each.林茨 Ars Electronica 的 Deep Space 8K 向墙面与地面投影，两个投影面各约 16 × 9 米。
- documented文献依据 LED pixel pitch sets a minimum viewing distance; outdoor walls trade fine pitch for brightness and weatherproofing (manufacturer specification practice).LED 像素间距决定了最小观看距离；户外屏幕以牺牲细密间距换取亮度与防护性（厂商规格惯例）。
- documented文献依据 Realtime simulation works, such as John Gerrard’s, have been presented both in galleries and on large public screens.实时模拟类作品（如 John Gerrard 的创作）既在画廊中呈现，也出现在大型公共屏幕上。
Realization & Calibration实现与校准
responding to: artist spec held当前依据：按艺术家规范The technician works to the artist’s note: white point, gamma, peak brightness, black level, scaling, frame-rate match, audio level measured at a stated distance. Approval by the studio before opening.
技术员按艺术家的说明执行：白点、伽马、峰值亮度、黑位、缩放方式、帧率匹配、在指定距离测得的声压。开幕前由工作室确认。
In this room, at this hour, the specified brightness leaves the image unreadable to a standing visitor. Holding the spec is also a decision.
在这个房间、这个时段，按规范设定的亮度让站着的观众看不清画面。坚持规范同样是一种决定。
Who preserves display intent when the intent was written for a different room?
当「显示意图」是为另一个房间写下的，谁来保存它？
Is artist intent a set of values, or a ranked set of priorities?
艺术家的意图是一组数值，还是一组有先后次序的优先级？
Research notes研究依据
- documented文献依据 Time-based media departments produce installation specifications and iteration reports recording how a work was shown on each occasion.时基媒体部门会制作安装规范与「迭代报告」，记录作品每一次的展出方式。
- documented文献依据 Artist or studio approval of an installation, on site or remotely, is a standard clause in time-based media loans.由艺术家或其工作室在现场或远程确认布展，是时基媒体借展中的常见条款。
- interpretation解释 Calibration is usually recorded as values rather than priorities, so the reasoning behind a trade-off rarely travels to the next venue.校准通常被记录为数值而非优先级，因此取舍背后的理由很少能传到下一个场馆。
Afterlife此后
responding to: single-channel video当前依据：单频影像Video is the best-understood case: checksummed masters, copies in different places, scheduled fixity checks, format migration as codecs age. Museums formalised much of this through the Matters in Media Art collaboration.
影像是被理解得最充分的情况：带校验值的母版、异地多份拷贝、定期完整性检查、随编解码器老化而进行的格式迁移。许多机构通过 Matters in Media Art 的协作把这些流程固定下来。
The file survives. The installation — screen size, height, room, sound level, and the reason it looked like that — survives only if someone wrote an installation report.
文件活下来了。而安装——屏幕尺寸、高度、房间、声压，以及「为什么是这样」的理由——只有在有人写下安装报告时才活下来。
Why does calibration knowledge usually disappear after the exhibition closes?
为什么校准知识通常在展览结束后就消失了？
What would it take for the next installation to begin where the last one ended?
要让下一次布展从上一次结束的地方开始，需要什么？
Research notes研究依据
- documented文献依据 The Variable Media Questionnaire sets out four strategies: storage, migration, emulation, reinterpretation.Variable Media Questionnaire 提出四种策略：保存、迁移、模拟、重新诠释。
- documented文献依据 The Guggenheim’s restoration of Shu Lea Cheang’s Brandon (1998–99), completed in 2017, rebuilt a software environment that no longer existed.古根海姆对郑淑丽《Brandon》（1998–99）的修复于 2017 年完成，重建了一个已不复存在的软件环境。
- documented文献依据 CRT obsolescence has forced museums to choose between sourcing legacy hardware and re-presenting works on current displays.CRT 的过时迫使美术馆在「搜寻老旧硬件」与「在当代显示设备上重新呈现」之间做出选择。