502:, Rhizome presented this exhibition of 40 selections from its online archive of new media art, the ArtBase. Cocurated by then-director Lauren Cornell and former director Rachel Greene, the exhibition addressed dirt style, net cinema, games, e-commerce, data visualization and databases, online celebrity, public space, software, cyberfeminism, and early net.art. Selected artists included John F. Simon Jr., M. River and T. Whid Art Associates, 0100101110101101.org, Young-Hae Chang Heavy Industries, and Cory Arcangel. Sarah Boxer, reviewing the exhibition for the
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network requests, and anything that is not requested cannot be captured. Ad blocker and privacy features can affect these requests. Also, webpages could appear differently due to the capabilities of each different browser. Conifer also gives the option for users to use their remote browser, which lets users âuse the exact same browser for both capture and access.â These browsers run in the cloud and are pre-configured by
Conifer for use in capturing websites.
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share their own collections of web materials. This can even include items that would be only revealed after logging in or performing complicated actions on a web site.â This tool also lets users save items with âcomplex scripting, such as embedded videos, fancy navigation, or 3D graphics,â which âhave a much higher success rate for capture with
Conifer than with traditional web archives.â
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conifer.rhizome.org web archiving server.â Proxy mode âhas the web archiving backend connected to the browser via a web proxyâŠThe browser can make requests as usual and the web archiving backend will have access to all of them, with almost no rewriting required. This makes proxy mode generally a more stable and reliable capture method that doesnât require constant updating.â
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of new media art. This includes projects that creatively engage new and networked technologies or reflect on the impact of these tools and media. With this expanded format, commissioned works can take the final form of online works, performance, video, installation or sound art. Projects can be made for the context of the gallery, the public, the web or networked devices.
287:, video content, and other dynamic content, rather than static webpages. Webrecorder is an attempt to place web archiving tools in the hands of individual users and communities. It uses a "symmetrical web archiving" approach, meaning the same software is used to record and play back the website. While other web archiving tools run a
206:. Today, Rhizome's programs include events, exhibitions at the New Museum and elsewhere, an active website, and an archive of more than 2,000 new media artworks. This relationship has been contentious at times, with Rhizome members citing the museum's toxic working environment practices including verbal harassment and abuse.
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The
Conifer tool also has been suggested for use in Special Interest Archival groups, such as the group for art. According to Sumitra Duncan, founder of the Web Archiving Special Interest Group, âFor the last few years we have been toying with the idea of using ⊠Conifer service ⊠to create a SIG web
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Conifer can also capture content when a user is logged into a website but say that a website may look different depending on if the user is logged in or not. However, Conifer warns that âYou may log in to websites during a session, however, do note that your credentials may be captured as data within
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slices from nude bodies, the exploitation of unpaid performance artists, and male strippers. Writing for Noisy, Zach Sokol said of the event: "Fornieles may be tinkering with the idea that we force imagined social archetypes and social spaces into existence... We all become sociopaths when there are
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Founded in 2001 to support artists working with technology, the
Rhizome Commissions Program has awarded more than 100 commissions as of 2016. In 2008, Rhizome expanded the scope of the commissions from strictly Internet-based art to the broad range of forms and practices that fall under the category
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Nicola Jayne
Bingham and Helena Byrne have stated that programs such as Conifer offer âpotential for collecting and creating much more heritage; in practice however, ârecordingâ websites is a manual, extremely time-consuming process and can only be used very selectively due to resource constraints.â
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instagram project "Excellences and
Perfections" (2014) was the first social media artwork archived with Colloq. Colloq pays special attention to the way a user interacts with the social media interface at the time of creation, using a technique called "web capturing" to store website behaviors. The
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in 1999. The ArtBase was initially conceived exclusively as a database of net art works. Today, the scope of the ArtBase has expanded to include other forms of art engaged with technology, including games, software, and interdisciplinary projects with online elements. The works are submitted by the
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According to their user guide, Conifer works by putting web pages into âsessions." These "sessions" work by ârequests sent by the browser and responses from the web are captured while you are interacting with sites.â Conifer defines a collection as a series of these sessions. When someone wants to
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In response to the needs of the ArtBaseâas well as to the increasing number of artists creating works on social media platforms and as interactive websitesâin 2014 Rhizome began a program to develop open source web archiving tools that could both serve its mission and a broader community of users.
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The choice of browser effects how the data will be captured. Conifer states that âThere are four factors in a capture session: the browser that is operated by the user, its connection to the web archiving backend that writes the data, network location, and user identity.â The browser performs the
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In 2020, Rhizome renamed their
Webrecorder.io. project to Conifer. Conifer lets its users âcreate high-fidelity, interactive captures of any web site you browse and a platform to make those captured websites accessible.â Conifer is powered by its users and gives the power to âcreate, curate, and
272:, but this recording did not include embedded media like videos that Colloq was built to capture. Of the tool, Jon Ippolito, professor of new media at the University of Maine, said: it makes archives "as close as possible, youâre going to get the experience of interacting with the actual site."
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In
October 2016, Rhizome launched Net Art Anthology, a two-year online exhibition devoted to restaging 100 key artworks from the history of net art. One project per week will be restaged and conceptualized through an online exhibition page. Devised in tandem with Rhizome's digital conservation
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Founded in 1999, the
Rhizome ArtBase is an online archive of new media art containing some 2,110 art works. The ArtBase encompasses a vast range of projects by artists all over the world that employ materials including software, code, websites, moving image, games and browsers to aesthetic and
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There are also different ways that the browser can connect to
Conifer: through ârewriting modeâ or âproxy mode.â In the Rewriting mode, âall resources the browser requests are changed on the fly so that instead of reaching out to the original URL on the live web, everything goes through the
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By August, Rhizome had launched its website, which by 1998 had developed a significant readership within the Internet art community. Originally designated a business, Rhizome became a nonprofit organization in 1998, switching to the domain-name suffix ".org.". In an interview with
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Since 2010, Rhizome has held an annual conference at the New Museum pairing leading technologists and contemporary artists to create something newâart, apps, often arguments about digital culture. The program has led to many influential projects such as a start-up called
331:. The project gives users a deeper understanding of web history and the way browsing environments alter one's experience of the internet. It is an example of "Emulation as a Service" technology, imitating old software programs so that they can run on new computers.
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However, Byrne and Bingham also state that âConifer has great potential to democratise the web archiving process as websites archived by individuals external to the LDLs can be added to UKWA, creating possibilities for more diversity within the archive.â
268:, marking the first time Colloq was used to archive an entire website. Archiving VVORK allowed Rhizome to tackle the challenge of archiving embedded video content, which is often hosted on a third-party site. The website had been previously archived by
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archive collection that we can use as a teaching tool for members who are new to web archiving. Unfortunately, a lack of âstaffâ time and funds for long-term data storage has prevented us from enacting this idea in the past and still applies.â
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Despite that Adobe Flash Player went offline at the end of 2020, Conifer can still capture sites that used Flash, saying âAs long as a Flash site remains online it will still be accessible and able to be archived ⊠even after the deadline.â
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view the sessions, Conifer âmakes the browser request resources from the collection instead of the live web. Viewers of a collection should be able to repeat any action during access that were performed during capture.â
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233:, which is focused on the creation of free, open source software tools to decentralize web archiving and software preservation practices and ensure continuous access to its collections of born-digital art.
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Archive, Tribe explains "I thought of it as Artforum meets AltaVista (AltaVista was one of the first web search engines), as a kind of bottom-up alternative to the top-down hierarchies of the art world."
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In 2015, Rhizome folded the Colloq project into a more expansive Webrecorder initiative. In August 2016, the organization launched the public release of a more fully realized
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department, Net Art Anthology makes use of the tools Rhizome has developed for preserving dynamic web-based artworks. The project was launched with an artists' panel at the
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tool that allows users to create their own archives of the dynamic web. Funded by the Andrew W. Mellon Foundation, Webrecorder is targeted towards archiving
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your collectionâŠIf you need to capture a site that requires login, consider creating a throwaway account just for the purpose of capturing.â
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to capture sites, Webrecorder takes a different method, actually recording a user browsing the site to capture its interactive features.
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1091:"Symmetrical Web Archiving with Webrecorder, a Browser-based Tool for Digital Social Memory. An Interview with Ilya Kreymer | NDSR â NY"
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1278:"Archival strategies for contemporary collecting in a world of big data: Challenges and opportunities with curating the UK web archive"
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Rhizome launched the social media archiving tool Colloq in 2014, which works by replicating the interface of social media platforms.
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Repository created by the Webrecorder project that contains a socially constructed experimental list of publicly available archives
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founded Rhizome as an email list in 1996 while living in Berlin. The list included a number of people Tribe had met at
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588:, Ryan Trecartin, Tauba Auerbach, Marc Andre Robinson, Kristin Lucas, Michael Bell-Smith, Ricardo Cabello (mr.doob),
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beautiful people, fancy spaces, exclusivity, and of course documentation with iPhones, cameras, and video cameras."
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versions of legacy web browsers. Users are given the option of browsing the site of their choice within versions of
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Conifer offers different approaches to capturing with the software. Through a browser, one can capture
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600:, Camille Utterback, Emily Royston, Aram Bartholl, Xavier Cha, LaToya Ruby Frazier, Naeem Mohaiemen,
352:· WARCs created with any web archiving tool (an ISO standard for web archiving)
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1656:"ArtBase and the Conservation and Exhibition of Born Digital Art: an Interview with Ben Fino-Radin"
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1479:"What Happens When Artists And Technologists Work Together: Inside The Seven On Seven Conference"
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In its two decades of activity, Rhizome has presented exhibitions online and in gallery spaces.
1533:"Monegraph Uses Bitcoin Tech So Internet Artists Can Establish "Original" Copies Of Their Work"
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Conservation and Re-enactment of Digital Art Ready-Made, University of Freiburg and Rhizome
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The Rhizome email list was hosted by Desk.nl in Amsterdam starting February 1, 1996.
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1453:"Keep It in the Browser: At the New Museum Launch of Rhizome's Net Art Anthology"
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217:. In 2015, the organization relaunched rhizome.org with a new design created by
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Smithsonian Institution Time-Based and Digital Art Working Group (April 2013),
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884:"Rhizome Board Member Resigns in Protest of Workplace Culture at New Museum"
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1414:"I Ate Salami Off a Naked Person and Acted Like a Sociopath at a Fake Gala"
902:"'UNDER CONSTRUCTION SINCE 1996': RHIZOME'S NEWLY REMODELED WEBSITE DEBUTS"
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by Laura Poitras; and artworks later shown at major art institutions, like
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Technologists who have participated in Seven on Seven: Jeff Hammerbacher,
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In 2013, the organization presented an experiential artwork by artist
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work includes conservation of digital art and updating obsolete code.
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National Digital Information Infrastructure and Preservation Program
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Conifer allows users to upload data in multiple formats, including:
264:. In 2015, Rhizome unveiled its archive of the influential art blog
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artists themselves. In addition to hosting archived work, Rhizome's
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870:"Rhizome board member resigns in protest of New Museum leadership"
849:"A NET ART PIONEER EVOLVES WITH THE DIGITAL AGE: RHIZOME TURNS 20"
627:, Ben Cerveny, Jeri Ellsworth, Kellan Elliott-McCrea, Bre Pettis,
980:"After VVORK: How (and why) we archived a contemporary art blog"
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303:, a project that allows users to view archived webpages within
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1016:"A Dynamic New Tool to Preserve the Friendsters of the Future"
741:, Center for Curatorial Studies, Bard College, April 29, 2010.
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1318:"Meet the ARLIS/NA SIGs Series: Web Archiving SIG â ArLiSNAP"
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Center for Curatorial Studies and Art in Contemporary Culture
1695:"Dynamic New Tool to Preserve the Friendsters of the Future"
370:· Via the ArchiveWeb.page desktop app
927:"New Rhizome tool preserves net art for future generations"
355:· ARC files (the predecessor of WARC)
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1116:"Oldweb.today lets you browse the Internet like it's 1999"
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called Artbase 101 "an ambitious and risky thing to do."
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Search the Rhizome server resources using the (full) URL
1628:"GALLERY: RHIZOME.ORG PRESENTS SURVEILLANCE AND DISSENT"
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Rhizome operates a digital preservation program, led by
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1067:"Rhizome Releases First Public Version of Webrecorder"
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Digital Preservation Practices and the Rhizome ArtBase
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Bingham, Nicola Jayne; Byrne, Helena (January 2021).
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1042:"WORKING TO CREATE A DIGITAL SOCIAL MEMORY FOR ALL"
209:The organization has published books. One book was
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823:"New Museum Joins Forces with Artists' Web Site,"
754:"Art Site Takes Plunge Into Not-for-Profitability"
576:Artists that have participated in Seven on Seven:
714:"Digital Artworks that Play Against Expectations"
186:Rhizome established an online archive called the
642:Previous Seven on Sevens have been supported by
406:Among the artists awarded a Rhizome commission:
1974:Non-profit organizations based in New York City
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1368:"Web Works That Insist on Your Full Attention"
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364:· Via your local browser
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767:"Interview with Mark Tribe, Founder, Rhizome"
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739:"Interview with Mark Tribe, Founder, Rhizome"
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1427:"The Mission to Save Vanishing Internet Art"
198:In 2003, Rhizome became affiliated with the
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510:New York New York Happy Happy (NY NY HP HP)
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1403:"NY NY Happy Happy An art event goes awry"
367:· Via remote browser
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34:that supports and provides a platform for
1984:Arts organizations based in New York City
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1675:, Washington DC: Smithsonian Institution
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665:List of digital preservation initiatives
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951:"Preserving Instagram's #perfect troll"
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544:, Mark Tribe, and Ricardo Dominguez.
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1451:Chiaverina, John (3 November 2016).
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299:In December 2015, Rhizome launched
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639:, Khoi Vinh and Anthony Volodkin.
260:and Rhizome's Digital Conservator
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1114:Dellinger, AJ (8 December 2015).
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1814:Open Archival Information System
1660:The Signal: Digital Preservation
1425:Rose, Frank (October 23, 2016).
132:Michael Connor, Makayla Bailey,
32:not-for-profit arts organization
1669:"Interview with Ben Fino-Radin"
1503:"Electronic Superhighway Guide"
1014:Goel, Vindu (19 October 2014).
557:; a short documentary film for
536:on October 27, 2016, featuring
1687:Digital Preservation Coalition
1366:Boxer, Sarah (June 28, 2005).
802:Preserving the Rhizome Artbase
791:Electronic Arts Intermix (EAI)
200:New Museum of Contemporary Art
96:235 Bowery, New York, NY 10002
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1556:Poitras, Laura (2015-06-09).
1531:Constine, Josh (9 May 2014).
1654:Trevor Owens (May 1, 2012),
225:Digital preservation program
1510:Whitechapel Gallery Website
771:Art Spaces Archives Project
727:"Community Via E-Mail List"
398:Rhizome Commissions Program
2005:
1662:, USA: Library of Congress
480:Porpentine (game designer)
211:"The Best of Rhizome 2012"
140:, Ilya Kreymer, Kaela Noel
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1929:Web archiving initiatives
1924:Timeline of audio formats
424:Mendi & Keith Obadike
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42:Rhizome at the New Museum
1914:Preservation initiatives
1617:"SATURDAYS: RHIZOME DJS"
1593:"Seven on Seven website"
1295:10.1177/2053951721990409
410:, Aleksandra DomanoviÄ,
213:edited by former editor
1892:Digital Curation Centre
1639:"#7on7HTC: Fever Pitch"
1288:(1): 205395172199040.
1282:Big Data & Society
1003:"VVORK on Archive.org"
279:tool, which is a free
256:tool was developed by
1341:"Rhizome Commissions"
1989:Digital preservation
1979:Culture of Manhattan
1882:Arctic World Archive
1780:Digital preservation
1558:"The Art of Dissent"
1229:"Choosing a Browser"
925:Dazed (2014-10-23).
660:Digital preservation
637:Grant Olney Passmore
193:digital preservation
1172:"How Conifer Works"
1095:ndsr.nycdigital.org
596:, Rashaad Newsome,
478:, Ryota Matsumoto,
165:Artist and curator
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1562:The New York Times
1477:Thayer, Katheryn.
1257:Conifer User Guide
1233:Conifer User Guide
1200:Conifer User Guide
1176:Conifer User Guide
900:Chiaverina, John.
886:. 6 November 2020.
829:September 30, 2003
619:, Matt Mullenweg,
559:The New York Times
486:Exhibition Program
313:Netscape Navigator
262:Dragan Espenscheid
231:Dragan Espenschied
138:Dragan Espenschied
118:Executive Director
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1794:Artifactual value
1734:Net Art Anthology
1673:Interview Project
1253:"Archiving Flash"
1046:Knight Foundation
1040:Connor, Michael.
527:Net Art Anthology
317:Internet Explorer
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675:Digital curation
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610:Stephanie Syjuco
464:Rafaël Rozendaal
422:and Sue Huang),
270:Internet Archive
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420:Brian House
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