Anna Mladentseva

35 posts

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Anna Mladentseva

Anna Mladentseva

@nyusha_ml

@LAHP_DTP funded PhD student at @UCLHoA @UCLDIS conservation of software-based art & design in the @V_and_A

London Katılım Nisan 2020
387 Takip Edilen121 Takipçiler
Anna Mladentseva
Anna Mladentseva@nyusha_ml·
Conference alert! This CFP, closing 15th May 2024, may be of interest to anyone working with creating, curating, preserving and theorising born-digital collections. I am part of the programme committee so I look forward to reading everyone's submissions. easychair.org/cfp/borndigita…
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Tyler Thorsted
Tyler Thorsted@CHLThor·
@nyusha_ml @kieranjol Do you preserve the FLA as part of this process? Or is it a temporary file used to deliver the final output?
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Anna Mladentseva
Anna Mladentseva@nyusha_ml·
@CHLThor @kieranjol The FLA file is retrieved by decompiling the SWF and then you can import it to Animate to access/edit separate components comprising the animation including scripts (ActionScript) and graphics
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Regina Harsanyi
Regina Harsanyi@ReginaHarsanyi·
I might be in London for the first time from the 22nd-25th of September 👀. How much art can I pack into two full weekend days?
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Anna Mladentseva
Anna Mladentseva@nyusha_ml·
@xxnorguk @conservators @EMG_AIC I’m currently reworking the presentation into a paper for the Electronic Media Review, but I’m not sure when exactly these conference proceedings will be published…maybe autumn?
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Anna Mladentseva
Anna Mladentseva@nyusha_ml·
Today I am in LA presenting some of my research at @conservators @EMG_AIC panel, very grateful for the FAIC/Samuel H. Kress foundation for supporting my participation, and looking forward to hearing everyone’s talks!
Anna Mladentseva tweet media
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wade wallerstein
wade wallerstein@habitual_truant·
Okay let’s try this again bc there still seems to be much debate — What does net art mean to you?
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Anna Mladentseva
Anna Mladentseva@nyusha_ml·
Last week I had my first academic article published by Journal of @Conservators_UK. It outlines a migration path for net art that has been affected by Adobe Flash’s end-of-life and reflects on the role of the source code in issues of authenticity, access and re-enactment.
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