JAIC 40 (2001):193–209

DARA BIRNBAUM’S TIANANMEN SQUARE:BREAK-IN TRANSMISSION:

A CASE STUDY IN THE EXAMINATION, DOCUMENTATION,AND PRESERVATION OF A VIDEO-BASED INSTALLATION

PAUL MESSIER

ABSTRACT—This paper presents a methodologyfor the examination and documentation of a video-based installation as applied to Dara Birnbaum’s1989–90 Tiananmen Square: Break-In Transmission.Functional and aesthetic roles of compositionalelements and electronic components are character-ized. Background on relevant technologies is summa-rized.The results of the assessment indicate that thestability of the piece may be threatened due to mediadegradation, format obsolescence, hardware obsoles-cence, and a lack of centralized documentation.Recommendations for near-term and long-termpreservation activities are offered. This article is aresult of TechArchaeology:A Symposium on Installa-tion Art Preservation.

TITRE—L’oeuvre de Dara Birnbaum TiananmenSquare: Break-In Transmission. Une étude de cas pourl’examen, la documentation et la préservation d’uneinstallation vidéo. RÉSUMÉ—Cet article présente laméthodologie en vue de l’examen et de la docu-mentation d’une installation vidéo, en utilisantcomme exemple l’oeuvre de Dara Birnbaum, Tianan-men Square: Break-In Transmission, qui fut créée entre1989 et 1990. On y élabore sur les rôles fonctionnelset esthétiques des éléments de la composition et descomposants électroniques. Les points essentiels destechnologies pertinentes sont aussi présentés. Lesrésultats de l’évaluation démontrent que la stabilité del’oeuvre peut être compromise par plusieurs facteursdont la dégradation du média, la désuétude du formatou de l’appareil, ou encore l’absence d’une docu-mentation centralisée. Des recommandations sontproposées pour assurer la préservation à court et àlong terme. Cet article est un résultat deTechArchéologie: un colloque sur la préservation desinstallations.

TITULO—Tiananmen Square: Break-In Transmission(Plaza de Tianamen: interrupción/irrupción en unatransmisión). Un estudio de caso para examinar,documentar y preservar una instalación basada envideos. RESÚMEN—Este articulo presenta una

metodología para el examen y la documentación deuna instalación, según fue aplicada a la obra de laartista Dara Birnbaum: Tiananmen Square: Break-InTransmission (Plaza Tianamen: interrupción/irrupciónen una transmisión). Se hace una identificación de losroles funcionales y estéticos de los elementos de lacomposición y de los elementos electrónicos. Se haceun resumen de fondo de las tecnología relevantes. Losresultados de la evaluación indican que la estabilidadde la pieza puede estar amenazada por la degradaciónde la cinta magnética y los discos ópticos en los cualesestá archivada, por obsolescencia del formato, porobsolescencia del equipo (hardware), y por falta dedocumentación centralizada. Se hacen recomenda-ciones para la preservación a corto y largo plazo. Esteartículo es el resultado del Simposio sobre Preser-vación de Instalaciones de Arte TechArchaeology.

1. INTRODUCTION: DARA BIRNBAUM

Throughout her career as an artist, Dara Birnbaum(b. 1946) has employed video appropriated frombroadcast television in her work. Her career as avideo artist began in the late 1970s, after she receivedacademic degrees in architecture and painting. Earlywork, including Technology/Transformation: WonderWoman (1978–79), General Hospital/Olympic Women(1978), and Pop-Pop Video: Kojak/Wang (1980), usesbroadcast video that is re-purposed by the artist toanalyze the language of television. She also integratesovertly political content into her work. Canon:Takingto the Street (1990) contains amateur video of a 1987march protesting violence against women, makinglarger allusions to the power of street demonstrations,including the 1968 Paris uprising (Tuer 1997).Although much of Birnbaum’s work is single-chan-nel video, she has produced several multichannelinstallations, including Rio Videowall (1989), a 25monitor permanent installation, and Will-o’-the-Wisp(1992), a 3-channel installation.

194

PAUL MESSIER

JAIC 40 (2001):193–209

2. TIANANMEN SQUARE: BREAK-INTRANSMISSION

2.1 WORKING METHOD

A five-channel installation, Tiananmen Square: Break-In Transmission (1989–90) incorporates the majorthemes of Birnbaum’s work. Centered on the studentand worker occupation of Beijing’s TiananmenSquare in 1989, Birnbaum’s installation samples adiverse range of broadcast imagery generated by theevent. Four video segments present a singer perform-ing the song “Wound of History,” news coverage ofthe demonstrations, news coverage of the Chinesegovernment–ordered shutdown of broadcasting byCNN and CBS, and video showing the persistence ofcommunication through alternative modes like thefax machine. Figure 1 shows a frame from the“Wound of History” segment.

Birnbaum recorded these segments as they werebroadcast on television. Her original “capture”medium was 3/4 in. U-matic videotape.The 3/4 in.videotapes were transferred to Betacam SP for edit-ing. The original sound capture had stereo capabili-ties, though the broadcasted source materials weretypically mono. During the editing process, the soundwas somewhat “sweetened” and output to four chan-nels (Birnbaum 2000a). “Sweetening” is a looselydefined term in audio-video editing that is generallytaken to mean enhancing the sound track for clarityand impact using equalization or some other signal-processing devices. Likewise, some of the video wasslightly manipulated to exaggerate certain effects. Forexample, the breakdown and loss of signal producedafter the CNN and CBS shutdown was attenuated.Although the audio and video were manipulatedduring the editing process, the intervention wasminor in accordance with Birnbaum’s desire not toconceal the characteristic markers and limitations oftelevision broadcast. Once the Betacam SP masterwas complete, it was sent to the 3M Corporation inWisconsin for mastering onto laser disc (LD) (3M hassince sold its laser disc operation to the ImationCorporation).

The laser disc format was the most successful ofthe many video disc formats to emerge in the late

1970s to the late 1980s. The LD manufacturingprocess involves the creation of a glass master fromwhich the optical disc distribution copies arestamped. As is typical, this glass master for TiananmenSquare: Break-In Transmission was not retained. Birn-baum, however, retains the 3/4 in. U-matic cassettesfrom the original off-air recordings, and, most impor-tant, she retains the Betacam SP “disc master” used by3M. Taped submasters (also on the Betacam SPformat) are provided by the artist to the owners ofthe installation. Detailed descriptions of the video-tape formats mentioned in this section are availableelsewhere (Stauderman and Messier 1999).

2.2 NOTES ON PROVENANCE ANDDOCUMENTATION

There are two editions and one artist’s proof ofTiananmen Square: Break-In Transmission. Editionnumber 1 of 2 is owned by the Stedelijk Museumvoor Actuele Kunst (Museum of Contemporary Art)in Ghent, Belgium. Edition number 2 of 2 is ownedby Pamela and Richard Kramlich, private collectorsin the San Francisco Bay Area. Birnbaum retains theartist’s proof. The piece was commissioned throughthe Rhona Hoffman Gallery of Chicago and the JoshBaer Gallery of NewYork City. It was first exhibitedat the Josh Baer Gallery in 1990 (the gallery is nolonger in business). The Rhona Hoffman Galleryexhibited the piece February 1–23, 1991. Figure 2shows a detail of the piece during exhibition at theHoffman Gallery. The work was also exhibited inBoston at the Institute of Contemporary Art fromDecember 9, 1992, to February 21, 1993.

The Kramlich edition was obtained through theRhona Hoffman Gallery. Thea Westreich Art Advi-sory Services assists the Kramlichs in managing theircollection and maintains a file of correspondence andtechnical specifications pertinent to the installation ofthe piece. For the exhibition Seeing Time: Selectionsfrom the Pamela and Richard Kramlich Collection ofMedia Art (October 15, 1999–January 9, 2000) at theSan Francisco Museum of Modern Art (SFMOMA),the Kramlich edition was replicated using newequipment (creating what Birnbaum terms a second“artist’s proof ”). Following the exhibition, this

edition was disassembled and the equipment retainedby the Kramlichs for the purposes of backup.

The creation of a second artist’s proof for theSeeing Time exhibition raises questions pertaining toauthenticity and authorship when it comes to tech-nology-based installations. The concept of limitededitions is generally applied to works of art that canbe replicated, such as prints and photographs. Limit-ing an edition for such a work is designed to protectboth the integrity of the artist and the interests of thecollector from the indefinite production of poten-tially substandard work.A subset of a limited editionis the artist’s proof. Artist’s proofs are early workswithin an edition where technical and aestheticadjustments are finalized.Therefore the piece exhib-ited at the SFMOMA is not an artist’s proof in theconventional sense since the replication of the worktook place almost 10 years after the edition wasclosed. In addition, the replication for Seeing Timerequired an artist-patron–authorized reinterpretation

of the piece since some key technical componentswere no longer available due to obsolescence.

2.3 TECHARCHAEOLOGY

The edition examined for this article was thereplicated version of the piece exhibited at theSFMOMA. For the two days of TechArchaeology,artists, curators, conservators, video-technologyexperts, and media art installers examined selectedworks on display in the SFMOMA’s Seeing Timeexhibition to sort out the inherent preservation chal-lenges of technology-based art. Tiananmen Square:Break-In Transmission was examined by a workinggroup led by Dara Birnbaum and the author. Theideas generated during this meeting, and subsequentdiscussion with other conservators and with Birn-baum, helped form the methodology underlying thisarticle.

195

DARA BIRNBAUM’S TIANANMEN SQUARE: BREAK-IN TRANSMISSION:A CASE STUDY IN THE EXAMINATION, DOCUMENTATION,AND

PRESERVATION OF A VIDEO-BASED INSTALLATION

JAIC 40 (2001):193–209

Fig. 1. Video still from “Wound of History,” one of five simultaneous video channels. Dara Birnbaum,Tiananmen Square: Break-In Transmission, ©1990, five-channel video installation, with surveillance switcherand custom-designed steel suspension system. Installation dimensions variable.Courtesy of the San FranciscoMuseum of Modern Art

196

PAUL MESSIER

JAIC 40 (2001):193–209

Fig. 2. Detail of installation, showing an LCD station and the CRT monitor at the left, RhonaHoffman Gallery, Chicago, Ill., 1991. Dara Birnbaum, Tiananmen Square: Break-In Transmission,©1990, five-channel video installation, with surveillance switcher and custom-designed steel sus-pension system. Courtesy of the Rhona Hoffman Gallery

3. COMPOSITION OF TIANANMENSQUARE: BREAK-IN TRANSMISSION

3.1 BASIC LAYOUT AND COMPONENTS

Tiananmen Square: Break-In Transmission is a five-chan-nel video installation comprised of the followingelectronic components:

• 4 videodisc players (laser disc format)• 4 liquid crystal display (LCD) flat screen video

monitors, 2.7 in. diagonal screen size with fourmounts and power transformers

• 1 cathode ray tube (CRT) color monitor, 25in. diagonal screen size with wall mount

• 1 sequential switcher• 8 loudspeakersThe installation presents the viewer with five

“stations” located in front of each of the five videomonitors. Four stations are centered on small (2.7 in.diagonal screen) LCD monitors. Mounted aboveeach LCD monitor is a single videodisc player. Ateach LCD station a loudspeaker is mounted on eitherside of the small monitor. The LCD monitor, withassociated videodisc player and each loudspeaker, is

mounted on custom-designed armatures made fromsteel pipes that attach to the ceiling.The fifth stationis in front of the large (25 in. diagonal screen) CRTmonitor. This monitor is wall-mounted. Resting ontop of the CRT is the sequential switcher. Figure 2shows an LCD video station with two loudspeakersand a videodisc player.The CRT station is also visi-ble on the left.

3.1.1 Layout of Video Components

Each LCD monitor presents one of four videosegments described in section 2.1. The videosegments have a duration ranging from two to sixminutes, and upon conclusion each segment isrepeated continuously.The source of video for eachof the LCD monitors is its associated videodiscplayer. The larger CRT monitor shows video clipsoutput by a sequential switcher. Positioned at theCRT station, the sequential switcher automates thetaking of clips from each videodisc player. The clipshave a duration of 7 to 12 seconds.The sampled clipsare fed to the CRT in sequence, from LCD stationsone through four.At the completion of the sequence,it is repeated continuously.

3.1.2 Layout of Audio Components

The four LCD stations have their own audiotracks synchronized to the video.The source for thefour audio signals is the individual videodisc players.Left and right audio output channels on eachvideodisc player are connected to the left and rightloudspeakers at each station. The CRT station doesnot have audio playback.

3.2 SIGNAL PATH, CONNECTIONS,WIRING,AND POWER

Figure 3 shows the signal path for one of the fouraudio-video channels. Audio-video signals originatefrom each of the four videodisc players. Left and rightaudio jacks on the videodisc player connect to inputjacks on the left and right loudspeakers at each of thefour stations. The audio cabling connects by usingstandard RCA plugs. The video output on eachvideodisc player connects to an RCAY splitter.Thesplit signal is routed to both the sequential switcherand one of the four LCD monitors. The videoconnections from the RCAY splitter to the sequen-tial switcher require RCA-to-BNC adapters. Videoconnections made from the videodisc player to theLCD monitors require RCA-to-minijack (alsoknown as ministereo) adapters. Video connectionbetween the sequential switcher and CRT monitor ismade using coaxial cable and BNC connectors.

In general, Birnbaum prefers that the audio andvideo cables run inside the hollow metal armaturesused to mount the speakers and the LCD monitors.However, as a practical matter, it is not possible tosnake all wires and plugs through the armatures.External wires are then neatly bound to the arma-ture. In past installations, electrical tape and nylonwire ties have been used to bind the wiring to thearmature. While Birnbaum makes no attempt toconceal the workings of the installation, the appear-ance should be “clean” (Nielson 1993), with wires,cables, and plugs as unobtrusive as possible.

In all, eighteen components require alternatingcurrent (AC) power: eight speakers; four videodiscplayers; four transformers (AC to DC) for the LCDmonitors; one CRT monitor; and the sequential

switcher. All components use U.S. standard 120V, 60Hz. Past installations have used a single power cordrunning along the exterior of each LCD armature.This cord terminates at a small outlet box, which sitsbehind each videodisc player. The power cords forthe LCD transformers and videodisc players plug intothe outlet box.

3.3 COMPONENT POSITIONING

The installation is comprised of five “stations”centered on the four LCD monitors and the singleCRT monitor.The physical relationship between thestations is not fixed. Positioning the stations hasalways been the prerogative of the artist based on herinterpretation of the particular exhibition space.According to Birnbaum, the key element in the posi-tioning of components is to encourage the viewer tomove through the exhibition space (Birnbaum2000b).Although “passage” through the installation isimportant, the viewer should not perceive a specific“destination.” Therefore each station receives equal

197

DARA BIRNBAUM’S TIANANMEN SQUARE: BREAK-IN TRANSMISSION:A CASE STUDY IN THE EXAMINATION, DOCUMENTATION,AND

PRESERVATION OF A VIDEO-BASED INSTALLATION

JAIC 40 (2001):193–209

Fig. 3. Schematic circuit diagram for one of LCD monitorchannels and the CRT monitor. Dara Birnbaum, TiananmenSquare: Break-In Transmission, ©1990, five-channel videoinstallation, with surveillance switcher and custom-designedsteel suspension system. Courtesy of the artist

compositional weight, and no single station isemphasized by more prominent positioning in theexhibition space. Birnbaum uses the architecturalfeatures of the exhibition space to promote move-ment through the piece. For the recent exhibit, SeeingTime at the San Francisco Museum of Modern Art,the piece was placed at the entrance of the exhibi-tion, in close proximity to stairways and elevators thatdrove viewers through the installation. A detailedfloor plan of the SFMOMA exhibit is presented infigure 4. Passage is also emphasized in the installationin the Kramlich residence, where it is centered on themain stairway, as illustrated in figure 5.

While there are no prescribed, measured rela-tionships between the main components in theinstallation, there are fairly rigid aesthetic criteria thatgovern the composition (Vitale and Birnbaum 2000).Birnbaum wants the viewer to see, or at least beimmediately aware of, the larger CRT monitor at allvantage points within the installation. The largemonitor should emerge from the background uponthe viewer’s first engagement with the piece. Like-wise, all vantage points should allow for most of theother compositional elements to be revealed. Withsome distance, the smaller monitors should appear aslights, with the video image indistinguishable. Asmuch as possible, these “lights” should be peripherallyapparent when the viewer is positioned in front of asingle LCD monitor.

The four LCD stations are intended to activelyengage the viewer. These monitors have a typicalviewing distance of only 20 in. and the displays arehard to see at an angle. While these monitors placecertain demands on the viewer, once engaged, he orshe is presented with coherent narrative content. Onthe other hand, the CRT promises the viewer a morefamiliar experience derived from television. Its longerviewing distance and more conventional presentationinvite a more passive form of engagement. However,unlike the LCDs, the CRT displays quick snatches ofvideo with no discernible narrative content. Theoverall effect is increasingly disjointed since the CRTstation has no dedicated audio track, making thejumbled cross talk among the four LCD stations veryapparent.

Prior to display, Birnbaum has always worked out

the relationships between the main compositionalelements. In past installations the speaker height hasvaried, just above or below the plane of the videodiscplayer.The horizontal armature and the mounts usedfor the LCDs allow a large degree of adjustment inthe X,Y, and Z directions.This flexibility is often usedfor effect, avoiding a strictly linear or symmetricalpresentation. In addition, the length of the armaturesis entirely dependent upon the ceiling height, intro-ducing another variable that is subject to changefrom one exhibition space to another.

Despite Birnbaum’s subjective interpretation ofher work within a given exhibition space, manycompositional elements are fixed. For example, thesteel armatures used to mount the LCD monitors,videodisc players, and speakers are more preciselydetermined. Figure 6 shows the basic design of thearmatures, giving fixed dimensions where applicable.These armatures are usually made using 1 to 2 in.diameter steel pipe. In previous installations, the pipehas been painted matte black, gray, or gunmetal. In all

198

PAUL MESSIER

JAIC 40 (2001):193–209

Fig. 4. Floor plan, detail showing central positioning ofBirnbaum, Tiananmen Square, relative to other works andlandings for elevators and staircase. Seeing Time: Selectionsfrom the Collection of Pamela and Richard Kramlich Media Artexhibition at the San Francisco Museum of Modern Art,1999–2000. Courtesy of SFMOMA

cases, the armatures attach to the ceiling of the exhi-bition space and present the LCD monitors at eyelevel. The monitors are mounted to a horizontalsection of the armature, projecting outward at a rightangle to the vertical section.The horizontal extensionof the armature is 21 in. The manufacturer-recom-mended mount for the LCD is fixed to the end of thehorizontal section of armature.The vertical section ofeach LCD armature has a 161/2 in. x 17 in. platformto support the videodisc player.This platform is posi-tioned approximately 8 in. to 14 in. above the LCDmonitors. The large CRT monitor is typically wall-mounted, using the mounting system recommendedby the monitor manufacturer.

3.4 ROOM LIGHTING, SOUND, ANDVIDEO SEQUENCE

The installation is lit diffusely, typically withoutaccents on any of the compositional elements. Thelight levels should be set similar to that for a “paint-

ing in a museum” (Birnbaum 2000a). In general,video and film are displayed at lower levels of illumi-nation, though contemporary video equipment hasthe capability to carry at much higher light levels.Birnbaum feels the traditional, more dimly lit “blackbox” exhibition space for video and film encouragesa certain passivity in the viewer, discouraging move-ment through the piece (Birnbaum 2000a).

Optimum sound levels have never been quanti-fied and are very dependent on Birnbaum’s interpre-tation of the exhibition space. The challenge is toensure that each of the four sound tracks is clearlyaudible when the viewer engages its LCD monitor,while at the same time ensuring that no one soundtrack dominates when the viewer considers the pieceas a whole. Optimally the four channels are balancedwith one another, allowing some sound seepage fromone LCD station to the other. However, when theviewer approaches a particular station, sound fromthe other stations should become increasinglyperipheral. When the viewer moves in front of anLCD monitor, the sound from that station should bevery clear, with only hints of the other stations. At

199

DARA BIRNBAUM’S TIANANMEN SQUARE: BREAK-IN TRANSMISSION:A CASE STUDY IN THE EXAMINATION, DOCUMENTATION,AND

PRESERVATION OF A VIDEO-BASED INSTALLATION

JAIC 40 (2001):193–209

Fig. 6.Armature design for installation; armature is fabricat-ed of coated steel. Tiananmen Square: Break-In Transmission,©1990, Dara Birnbaum, five-channel video installation withsurveillance switcher and custom-designed steel suspensionsystem. Courtesy of the artist and Thea Westreich ArtAdvisory Services

Fig. 5. Detail of residential installation, home of Richardand Pamela Kramlich, San Francisco. Dara Birnbaum,Tiananmen Square: Break-In Transmission, ©1990, five-chan-nel video installation, with surveillance switcher and cus-tom-designed steel suspension system. Photo courtesy ofSan Francisco Museum of Modern Art, Richard andPamela Kramlich and Thea Westreich Art Advisory Services

this point, the sound level should be approximatelythat of a “clear conversation” (Birnbaum 2000a).

Birnbaum has a general preference for thesequence in which the viewer is presented the fourLCD stations (Birnbaum 2000a). The first stationshould be the singer performing “Wound of History”(see fig. 1). For Birnbaum, the song sets up the“emotive baseline” for the entire installation. Thefootage of the demonstrations in progress follows thesong. The next LCD station shows governmentauthorities shutting down the CNN and CBS newsbroadcasts. The last station shows a continuance ofcommunication by different means, particularly thefax machine. In cases where the piece can beapproached from many directions (as in the SeeingTime exhibition, see fig. 4), the sequence is establishedbased on a judgment of how the typical viewerwould most likely approach the installation.

4. PLAYBACK HARDWARE ANDMEDIA

4.1 BACKGROUND ON THE LASERDISC FORMAT

The installation’s audio and video use the laser disc(LD) format. Laser disc is by far the most successfuland popular of the many obscure laser and stylus-based videodisc formats brought to market in theearly 1970s.The LD format was introduced in 1978by Philips and MCA and promoted as the qualityhome theater alternative to Video Home System(VHS) and Betamax. Early on, the laser disc formatbecame closely associated with the Pioneer Corpora-tion through market dominance and innovativeproducts (the term “laser disc” was originally a trade-mark of Pioneer). Laser disc offers a measure of inter-activity since content can be indexed and played backin any sequence specified by the user. As an interac-tive means of presenting visual content, the laser discformat attracted the attention of educators, and manyeducational and cultural institutions adopted thetechnology.

Laser disc video is stored on 12, 8, or 5 in. opti-cal discs. By far, 12 in. discs are most common. Discscan be either single- or double-sided, holding

approximately 30 to 60 minutes of video per side (thediscs in the Birnbaum piece are single-sided). From amaterials standpoint, the construction of the disc issomewhat similar to that of the more familiar CD-ROM and DVD optical discs. Figure 7 shows adouble-sided laser disc in cross section. The videosignal is stored using a system of pits and landsimpressed into a metallic layer, usually made ofaluminum.The thin metallic data layer is adhered toa substrate usually made of acrylic or polycarbonateand is covered by a supercoat, protective layer. Thelaser from the playback device is either reflected offthe lands or is scattered by the pits. The reflectionsfrom the lands are detected by a photodetector in theplayback device.

While this system has much in common withmore contemporary digital optical disc formats (CD-ROM and DVD), the LD video format is strictlyanalog, as the video signal is represented by slightvariances in pit-to-pit spacing (Niland 1999). LD is acomposite video format, meaning that luminanceand chroma information are compiled into onesignal. Image resolution for the NTSC laser discformat is 420 luminance scan lines horizontally by480 luminance scan lines vertically and 70 chromalines horizontally by 480 chroma lines vertically(NTSC is the National Television StandardsCommittee, which sets the standards for color televi-sion employed by the United States, Canada, andJapan). A typical luminance signal to noise ratio(S/N) for LD is 52.The frame rate is 30 frames persecond. For the sake of comparison, the followingtable presents these data with that of other common

200

PAUL MESSIER

JAIC 40 (2001):193–209

Fig. 7.The layers in a double-sided laser disc shown in crosssection

201

DARA BIRNBAUM’S TIANANMEN SQUARE: BREAK-IN TRANSMISSION:A CASE STUDY IN THE EXAMINATION, DOCUMENTATION,AND

PRESERVATION OF A VIDEO-BASED INSTALLATION

JAIC 40 (2001):193–209

video formats, including DVD (Herranen 1998).While laser disc video is always analog, the LD

audio can be one of many analog or digital formats.In practice, NTSC laser disc audio is generally digitalstereo sampled at a rate of approximately 44,000 to48,000 samples per second at 16 to 20 bits persample.The digital sound data transfer rate is approx-imately 1.44 megabits per second (mbps). A typicalsignal-to-noise ratio might be in the range of 90–96.The output audio signal requires external amplifica-tion for playback.

Laser discs allow the stored content to be organ-ized into separate “chapters” that can be indexed fornear immediate recall. The Birnbaum laser discscontain five such chapters: one for each of the fourvideo segments, with one chapter devoted to imageand sound quality presenting standardized color barsand tones that allow for visual and aural synchroniza-tion among the monitors and loudspeakers. As eachof the Birnbaum discs contains all four video tracks,the discs are interchangeable among the four LCDstations.

4.2 LASER DISCS’ IMPENDING FORMAT AND HARDWARE OBSOLESCENCE

From the standpoint of physical longevity, opticaldiscs (such as CD-ROMs and DVDs) are estimated tohave a useful life of anywhere from 10 to 100 years,depending on the manufacturer, ambient storageconditions, and handling. This life expectancycompares very favorably with video stored onmagnetic tape, which, given the same storage condi-tions, might last anywhere from 10 to 30 years (VanBogart 1995). Unlike tape-based video, laser discplayback does not require any physical contact so thediscs do not become “worn” during playback or evenafter long periods of “freeze frame” playback. Physi-cal damage to the discs through handling or embed-ded dust and dirt are more pressing concerns, as thesedefects can alter the path of reflected laser light uponplayback.

While laser discs are relatively stable given properstorage and handling, the viability of the format isseriously threatened. Its major threat appears to be

the emergence of competing formats (AcademyAdvancing High Performance Audio and Video1998). In particular, the digital video disk (alsoknown as the digital versatile disk or DVD) poses aserious challenge to analog LD. DVDs’ perceivedadvantages include lower production and distributioncosts, higher-quality video and sound (see table 1),playback capability in computer DVD-ROM drives,more overall storage capacity, and more levels ofinteractivity (Messier 1998). At the consumer level,the DVD format can be recordable and rewritable,distinctly unlike the laborious and expensive master-ing process required for producing laser discs. Thelaser disc market, which peaked in 1994 with $345million in sales, suffered a 20% reduction in revenueupon DVDs’ first availability in the marketplace in1996 (Brass 1998).

The Tiananmen Square installation uses PioneerLD-V2000 laser disc players. The LD-V2000 was anew model in 1989 and is no longer manufactured.Pioneer Electronics, the holder of numerous key LDpatents, is still one of the only major suppliers of LDhardware.At this writing, the company still manufac-tures LD players, but the forecast for ongoing supportis unclear at best. An article recently removed fromPioneer’s own website (which purports to refute thedeath of the format) says that the format should beviable for “three to four years” and recommends tran-sitioning to DVD using Pioneer’s line of laserdisc–DVD hybrid players (Wujcik 1996). In 1998Pioneer President Kaneo Ito said it was his belief that“Laser disk will cease to be viable in no more thanapproximately 1 to 11/2 years” and that the manufac-ture of combination laser disc–DVD players couldcease at that time.The Imation Corporation is possi-bly the only remaining vendor in the United Statesoffering laser disc mastering.

4.3 PRESERVATION OUTLOOK FORTHE MASTER VIDEOTAPES

As mentioned in section 2.1, Birnbaum madethe original off-air recordings using 3/4 in. U-maticvideotape.The video was transferred to Betacam SPfor editing. Birnbaum retains the original 3/4 in. U-matic tapes and the Betacam SP “disc masters.” The

202

PAUL MESSIER

JAIC 40 (2001):193–209

Table 1. A Comparison of Some Common NTSC Video Formats

owners of the two editioned copies have Betacam SPsubmasters.

U-matic is a composite videotape format intro-duced in 1971.The format has a very large installedbase of professional users, such as news-gatheringorganizations. It is the first successful videocassetteformat. Major industry backers of the formatincluded Sony, JVC, and Panasonic. Betacam SP is ananalog component format introduced by Sony in1986 on the heels of the demise of its Betamaxformat. Another format aimed at professional videoapplications, Betacam SP is popular among news-gathering agencies for field acquisition and postpro-duction.

Like laser disc, both U-matic and Betacam SP are“threatened” formats. Sarah Stauderman, in her VideoFormat Identification Guide (Stauderman and Messier1999), defines threatened formats as follows: “Theplayback machines are available; however, either thetape format itself is unstable or has less integrity thanother available formats, or it is known that a morepopular or updated format will be replacing this onein a short period of time.” The advent of newer digi-tal formats, especially those targeting news-gatheringorganizations and other professionals engaged in fieldacquisition of video, are rapidly displacing U-maticand Betacam SP, as playback hardware for theseformats becomes increasingly scarce.

Impending format obsolescence is only part ofthe problem, as magnetic tape is an inherently unsta-ble medium with a life expectancy of only 10–30years, given proper handling, minimal playback, andstorage at relatively dry and cool conditions of 68oFand 40% RH (Van Bogart 1995).The stability prob-lems of magnetic tape have been examined in depthand are commonly attributed to hydrolysis of thebinder medium used to affix the metallic pigments tothe tape substrate (Van Bogart 1996). The stabilityproblems facing magnetic tape are not merely theo-retical or hypothetical: a recent conservation surveyof a media center’s video holdings revealed that 20%of the 3/4 in. U-matic tapes in the collection do notplay back due to the chemical and physical break-down of the tape (Messier 1997).

4.4 LCD MONITORS

The installation originally used four Sony FDM-330 liquid crystal display monitors known as “Watch-man.” These monitors had a screen size of 2.7 in.(measured diagonally) and were capable of displayingvideo input to the NTSC standard of 30 frames persecond with a horizontal resolution of 320 lines.While the name “Watchman” persists, Sony has notmanufactured these particular monitors for close to10 years. Attempts to obtain technical specifications

203

DARA BIRNBAUM’S TIANANMEN SQUARE: BREAK-IN TRANSMISSION:A CASE STUDY IN THE EXAMINATION, DOCUMENTATION,AND

PRESERVATION OF A VIDEO-BASED INSTALLATION

JAIC 40 (2001):193–209

on the product from Sony for this report were fruit-less. Despite an apparent willingness to help, Sonytechnical personnel do not have ready access to infor-mation on products the company no longer manu-factures.

The Sony monitors were used in the early exhi-bitions of Tiananmen Square: Break-In Transmission atthe Josh Baer Gallery (1990) and Rhona HoffmanGallery (1991).The FDM-330s were obsolete by thetime of the next exhibition at Boston’s Institute ofContemporary Art (December 1992).This exhibitionused another model LCD display, most likely manu-factured by Panasonic. As mentioned in section 2.3,the SFMOMA’s Seeing Time exhibition replicated thepiece.According to Matt Biederman and Steven Dyeof the SFMOMA installation staff, finding LCDmonitors that matched the original FDM-330sproved impossible.Working with Birnbaum, Bieder-man and Dye finally settled on monitors manufac-tured by the Citizen Corporation (Biederman andDye 2001).

Specific models of LCD monitors are driven intorapid obsolescence owing to the recent pace of tech-nological and manufacturing innovation. This situa-tion has been especially true in the last 10 years as thedemand for flat screen displays for portable comput-ers has increased dramatically.The current swift rateof development belies the fact that LCD technologyis not especially new. LCDs are grounded in princi-ples first described in the late 19th century.This earlyexperimentation showed that the crystalline structureof certain materials can be precisely altered throughsmall changes of temperature, pressure, and currentand that these changes are fully reversible when theinfluence of the variable is removed.

In 1963, the RCA Corporation was the first toexploit this principle to display information, using anapplied voltage to alter the refractive index of liquidcrystals, thus altering the light-scattering and trans-mission properties of the material. RCA used appliedvoltage to alter the orientation of linear crystals alongtheir axis, effectively causing the crystal to twist.These so-called twisted nematic (TN) displays alterthe transmission or reflection of polarized light,depending on the crystal orientation.TN displays aremade by arranging these linear crystals in a grid

controlled by horizontal and vertical bands of elec-trodes. Independently addressable picture elements,known as pixels, are formed at points of overlapbetween the horizontal and vertical bands of elec-trodes. There are substantial limitations in thismethod, since addressing individual pixels in thematrix requires voltage to be applied to an entire rowand column of electrodes.This addressing method isknown as “passive matrix.” Passive matrix TN displaysare typically used for low-information-density,monochromatic displays such as watches and calcula-tors. In 1973, the Westinghouse Electric Corporationcreated the first active matrix display in which indi-vidual pixels could be uniquely addressed throughlocalized voltage changes without engaging the otherpixels in the matrix. This more-refined level ofcontrol is based upon associating a thin film transistor(TFT) with each pixel. While TFT displays are stillbased on the inherently monochromatic twistednematic method for selectively blocking transmittedlight, color is achieved though dividing each pixelinto thirds and applying red, green, and blue filters.Active-matrix TFT displays are used in applicationsrequiring high information density and rapidchanges, such as portable computers, camcorders, anddigital cameras. The original Sony LCD monitorsused in Tiananmen Square: Break-In Transmission weremost likely active-matrix TFT displays.The disadvan-tage in active-matrix TFT displays is the high manu-facturing cost inherent in associating a singletransistor with an individual pixel. Introduced adecade after the TFT, supertwist nematic (STN)displays rely on the simpler and easier to manufacturepassive matrix method. STN displays use liquid crys-tals that have a dramatically enhanced twist responseas compared with earlier TN displays. This higherlevel of response correlates to higher levels of contrastas transmitted light is more effectively transmitted orblocked. As with TFT, color in STN displays isachieved through the use of the additive color filters.Compared to TFT, STN typically has slower responsetime, though innovations in the early 1990s allowSTN screens to be used effectively for the display ofvideo.

While LCD technology is significantly advanced,it is by no means a “mature” technology, as new

204

PAUL MESSIER

JAIC 40 (2001):193–209

applications, increasing demand, better manufactur-ing methods, and competing display systems influ-ence its development.The pace of development andthe resulting cycles of obsolescence are reflected inthe Birnbaum piece where the LCD monitors havechanged three time in the past 10 years.

For Tiananmen Square: Break-In Transmission thesechanges have not meant progress. Birnbaum believesthat the original Sony monitors were superior tolater replacement models in terms of clarity andbrightness. Not only was the quality better but Birn-baum was also attracted to the term “Watchman” forits talismanic appeal (Birnbaum 2000b). Unfortu-nately, such miniature LCD monitors are mostly rele-gated to the lower end of the consumer market.Consequently, the significant strides in the technol-ogy that are readily integrated into high-endconsumer devices have very little impact on cheaper,smaller, commodity-item LCDs.At this point, there isvery little choice when it comes to selecting replace-ment LCD monitors that fit the design and sizerequirements of the installation.

4.5 CRT MONITOR

The original cathode ray tube color monitorused in the installation is the NEC PMC 2571-A.The original monitors are still in use in both editionsof the installation. NEC has not made this monitor inalmost 10 years.The PMC 2571-A was marketed as aprofessional video monitor, with high-end featuresthat included an 8-pin connection for direct connec-tions to 3/4 in. U-matic VCRs, specialized filters toenhance the sharpness of composite video, a pass-through connection for the video signal, and a built-in stereo amplifier, integrated stereo speakers, and leftand right audio output.The monitor has 400 lines ofhorizontal and vertical resolution, which, accordingthe original NEC specifications, is 30% better thanconventional television monitors.The dimensions ofthe monitor are 231/4 in. vertically, 253/16 in. hori-zontally, with a depth of 201/2 inches. The diagonalscreen measurement is 25 in.The monitor weighs 87lbs.

Unlike the situation with LCDs, CRT technol-ogy is “mature.” Since the 1960s, the installed base

and manufacturing capacity for CRT televisions andcomputer monitors has been huge and growing at aconstant rate. Only recently has the dominance ofCRTs been challenged as LCDs are gradually beingused in high-end computer systems and television.LCD, plasma, and other flat panel display technolo-gies are making rapid strides and can be expected tosignificantly displace CRTs for most applications bythe end of the decade. However, the high price ofthese alternatives ensures that quality CRTs (like thePMC 2571-A) will be available in the near term.

4.6 SEQUENTIAL SWITCHER

A sequential switcher is an electronic componentthat is connected to multiple video sources such ascameras,VCRs, or, in the case of Tiananmen Square:Break-In Transmission, laser disc players. The switcheroutputs only one signal at a time, working throughthe multiple input signals at a predetermined intervaland sequence. For Tiananmen Square: Break-In Trans-mission, the four video signals from the LD players aresampled by the sequential switcher and output fordurations of 7–12 seconds for display on the CRTmonitor.

For the most part, sequential switchers are inte-grated into security systems, where the output ofmultiple cameras is periodically displayed on a singlemonitor located within a centralized guard station orrecorded by a videotape recorder. Sequential switch-ers can also integrate audio switching, though thisfeature is not standard and adds to the cost. Since theCRT station in Tiananmen Square: Break-In Transmis-sion does not have sound, this feature is unnecessary.

Initially, Tiananmen Square: Break-In Transmissionused the Panasonic WJ-525 sequential switcher.Thevideo input on this device allows for connection toup to 14 composite video input sources, using BNCconnections. The switching interval is adjustablebetween 1 and 30 seconds.The device measures 13/4

in. high, 187/8 in. wide, and 97/16 in. deep. It weighs6.8 lbs. The WJ-525 was first brought to market in1981 and is no longer manufactured by Panasonic.Presently, similar devices with nearly identical func-tionality are readily available.

205

DARA BIRNBAUM’S TIANANMEN SQUARE: BREAK-IN TRANSMISSION:A CASE STUDY IN THE EXAMINATION, DOCUMENTATION,AND

PRESERVATION OF A VIDEO-BASED INSTALLATION

JAIC 40 (2001):193–209

4.7 LOUDSPEAKERS

The eight speakers used in the installation areTeledyne Acoustic Research Powered Partners loud-speakers, model AR-570. The loudspeakers are“powered,” meaning they integrate an amplifier(necessary since the audio signal from the laser discplayers is not amplified), delivering 30 watts of power.As such, the speakers require AC power, though theycan be adapted for use with 9–25 volts of DC power.The loudspeakers are capable of delivering approxi-mately 109 dB sound pressure levels at 1m, relativelypowerful for their small size.The signal to noise ratiois >85dB.Woofer diameter is 4 in., tweeter diameteris 1 in.The speakers are triangular, with the back ofthe speakers at the apex and the front forming thebase.They are 61/8 in. high by 101/2 in. across the faceand 75/8 in. deep. Each speaker weighs 8 lbs. Thespeakers have rotary volume and bass and treblecontrols.They connect to the laser disc left and rightaudio out jacks using standard RCA connectors.

Acoustic Research is no longer affiliated withTeledyne and is now a subsidiary of the RecotonCorporation. Recoton owns other audio componentcompanies, including Advent and Jensen. At somepoint, the Powered Partners line of loudspeakersshifted from Acoustic Research to Advent, and, untilvery recently, Advent manufactured the loudspeakersas the AV-570.At present it appears the loudspeakersare no longer being manufactured, though they arestill available through retailers.While the future of theAV-570 is unclear, quality amplifier-integrated loud-speakers (some accepting both digital and analogsignals) are widely available for use with personalcomputers. Such speakers, however, are unlikely tohave the same triangular appearance and overalldimensions as the AV-570.

5. RECOMMENDATIONS AND CONCLUSIONS

While the condition of Tiananmen Square: Break-InTransmission is currently stable, its long-term preser-vation is threatened on several fronts. The majorthreats can be summarized under the following head-ings:

5.1 THREATS

5.1.1 Format Obsolescence

Laser disc, Betacam SP, and the 3/4 in. U-maticformats have been supplanted by newer formats andare no longer supported by manufacturers.

5.1.2 Hardware Obsolescence

While there is a large installed base of playbackequipment for the formats listed above, the ongoingproduction of the equipment is unclear or hasstopped altogether.

Even though LCD technology will continue todevelop for high-performance displays, obtainingsmall, high-quality analog LCD monitors has provendifficult, as the market seems to be moving away fromthis niche.

While powered speakers will continue to bemanufactured (especially for use with computers), theunique triangular design of the AV-570s will be diffi-cult to match, now that this model is no longermanufactured.

The nearly 60-year dominance of the CRT forthe display of visual information seems to be comingto an end as higher resolution and less bulky tech-nologies gain momentum.

5.1.3 Media Degradation

The original off-air recordings and the editedmasters are vulnerable since magnetic tape has a verypoor life expectancy of only 10–30 years when storedat ambient temperature and relative humidity.

5.1.4 Documentation

Through participation in interviews and theTechArchaeology symposium, Dara Birnbaum has aproven ability to articulate her intentions for thepiece in a manner that is both clear and insightful. Inlarge part, this article is based on these interactions.Still lacking, however, is a document that spells outBirnbaum’s specific requirements for the composi-tion and parameters for acceptable change when

206

PAUL MESSIER

JAIC 40 (2001):193–209

components fail. Without such guidance, anyrequired change could result in perceived or actualdegradation of the artistic intent.

A centralized, accessible, and authoritative repos-itory of technical specifications, measurements, mate-rials, installation photographs, installation history, andcorrespondence pertaining to the piece does notexist. Assembly of this type of information will beincreasingly valuable for future installations.

5.2 NEAR-TERM RECOMMENDATIONS

The magnetic tape masters and Birnbaum’s off-air recordings should be remastered using a morecontemporary format, possibly using a more stablestorage medium. The original masters and remastersshould be stored in a secure location under condi-tions that meet the ISO 18923:2000 standard (ISO2000) for the extended-term storage requirementsfor magnetic tape (23oC at 20% RH, 17oC at 30%RH, and 11oC at 50% RH).The remastering processshould be documented, especially if restoration basedon subjective criteria is required.

Electronic components that have sculptural qual-ities (in addition to their functional properties) needto be specifically identified by the artist in collabora-tion with the installation’s owners, who would thenhave the option to seek out suitable replacements. Forexample, the distinctive shape of the AV-570 loud-speakers may be worth preserving, and, if so, the timeto acquire replacements is fast drawing to a close.

5.3 LONG-TERM RECOMMENDATIONS

A centralized, authoritative list or catalog of alldocumentation pertaining to the installation shouldbe established.At present, art historical and conserva-tion research is difficult since there are many reposi-tories that hold photographs, interviews with theartists, technical specifications, and equipment manu-als that pertain to the piece.An easily updatable list ofthese repositories and a detailed inventory of theirholdings would significantly streamline future preser-vation-related work.

Working with conservators, curators, technicalexperts, and the owners, the artist should develop anabsolute generic version of the piece. This versionshould be as pure a distillation of the piece as possi-ble, identifying critical physical and electroniccomponents and dispensing with everything else. Itshould be extensively documented. The positioningof the key compositional elements, sound levels, andvideo output quality should be empirically measuredand recorded. Through the documentation, thisversion can serve as a template against which subse-quent display can be compared.

The TechArchaeology model for discussion ofthe preservation of media-based art should beexpanded. Meeting the challenges inherent inpreserving electronic art requires collaboration acrossa wide range of disciplines, including curators, tech-nical experts, and artists.While conservation methodsapplied to electronic art will always be grounded incommonly held standards of practice and ethics, thesenew challenges will require new approaches. Thedevelopment of these new approaches will requirethe dedication of resources for education, research,and the exchange of ideas.

5.4 CONCLUSIONS

The obsolescence of the laser disc format, theeventual obsolescence of CRT monitors, and thescarcity of replacement Acoustic Research loud-speakers will present a challenge for the long-termpreservation of Tiananmen Square: Break-In Transmis-sion. Such rapid cycles of hardware and softwareobsolescence are the inevitable effects of technologi-cal innovation within a highly competitive market.The preservation of almost any work of art thatincorporates electronic technology, especiallyconsumer electronics, will ultimately depend onstrategies designed to document and manage theeventual replacement of gear like the NEC PMC2571 and the Pioneer LD-V2000.

The obvious preservation strategy would seem tobe the acquisition of multiple, redundant replacementparts. Although they are no longer being manufac-tured, at this writing the AR-570 loudspeakers usedin Birnbaum’s piece are still available, presenting a

207

DARA BIRNBAUM’S TIANANMEN SQUARE: BREAK-IN TRANSMISSION:A CASE STUDY IN THE EXAMINATION, DOCUMENTATION,AND

PRESERVATION OF A VIDEO-BASED INSTALLATION

JAIC 40 (2001):193–209

soon-to-close window of opportunity. There is noquestion this strategy should be implemented to theextent possible, though the limitations of the strategyshould not be underestimated.

Perhaps a less obvious strategy is to contemplatethe preservation of the piece without a CRT moni-tor, LCDs, AR-570s, or laser disc players. Eventuallyeven the most well-preserved monitor or LCDscreen from ca. 1990 is going to appear dated andsomewhat primitive, just as breakthrough technolo-gies such as phonographs, vacuum tubes, and room-sized videotape recorders now have primarilyantiquarian value. Eventually such vintage gear,whether or not it is original to the piece and func-tional, may seriously interfere with and possiblyundermine the intent of the artist.An example mightbe the large CRT monitor used in Tiananmen Square:Break-In Transmission. The monitor appears to be adeliberate evocation of contemporary television andthe news media.Arguably it is this evocation of tele-vision and the medium’s passive and disjointed view-ing experience that is Birnbaum’s intention. TheCRT monitor was effective at fulfilling Birnbaum’sintention in 1990 and will continue to work well fora number of years hence. However, CRT technologyis on its way out, eventually to be replaced by LCDor, more likely, plasma display panels (PDP) or someother display technology. The medium of televisionwill adapt and integrate whichever new technologypredominates. Eventually, the NEC PMC 2571monitor will cross a line: no longer a meaningfulreference to contemporary television and the newsmedia, it will become a technological relic evokingperhaps nothing more relevant than nostalgia, at best.At this point, the preservation of the piece and thepreservation of original materials may present oppos-ing goals.

The notion that the preservation of TiananmenSquare: Break-In Transmission may actually be under-mined by a base reliance on its core technologicalcomponents can certainly be applied to other workthat incorporates electronic media. On its face, theproblem is obvious: technology ages rapidly, and,when obsolete, it is replaced. However, within thecontext of art conservation, this practical reality willpresent a host of unique challenges for the conserva-

tor. Indeed, one of the underlying premises of West-ern art conservation is that materials are the embod-iment and ultimate manifestation of artistic intent.The materials of the artist, whether canvas, paper, orphotographic negative, are vital, tangible links to theartist. Distanced from the original materials, weperceive our experience of a work of art to be erodedand diminished—unmoored from the artist and thepoint of artistic creation.

Therefore if we opt for mapping the terrainwhere the preservation of artistic meaning supersedesthe goal of materials preservation, conservators needto do more work by building substantial and crediblejustification. Such work cannot be done in isolationbut needs to be reflective of informed dialogue withthe artists, technical experts, curators, scholars, andcollectors.While the dialogue must be inclusive, theseissues of meaning, interpretation, and materials arecentral to the professional practice of art conserva-tion. Conservators should be prepared to take thelead.

ACKNOWLEDGMENTS

The TechArchaeology project was developed in largepart by Mona Jimenez, independent media consult-ant in NewYork. Critical and sustaining support wasreceived from Christopher Eamon. Dara Birnbaumgenerously contributed her time and insight to thisproject. The author wishes to thank the projectparticipants mentioned in the introduction, especiallythe authors of the papers presented in this issue.

208

PAUL MESSIER

JAIC 40 (2001):193–209

REFERENCES

Academy Advancing High Performance Audio andVideo. 1998. Pioneer laserdisc dead in eighteenmonths? News bulletin, August 31, at www.avacad-emy.com/news/stories/31_08_98_02.html (accessed11/8/00).

Biederman, M., and S. Dye. 2001. Personal commu-nication. San Francisco Museum of Modern Art, SanFrancisco.

Birnbaum, D. 2000a. Personal communication.Artist’s Studio, New York.

Birnbaum, D. 2000b. Personal communication.TechArchaeology Symposium, San Francisco Museumof Modern Art, San Francisco.

Brass, K. 1998. Home video: Company is the veryimage of flexibility. Los Angeles Times,April 9.

Herranen, H. 1998. Home 1998 video formats page,at www.cs.tut.fi/~leopold/Ld/VideoFormats.html(accessed 11/7/00).

ISO. 2000. Imaging material: Polyester base magnetictape-storage practices. ISO 18923: 2000. Geneva:International Organization for Standardization.

Messier, P. 1997. Media Alliance preservation survey.Unpublished conservation survey report. Boston ArtConservation, Boston.

Messier, P. 1998.Assessing digital video as a preserva-tion medium. In Playback: A preservation primer forvideo, ed. S. J. Fifer et al. San Francisco: Bay Area VideoCoalition. 25–36.

Nielson, D. 1993. Notes on the installation of Tianan-men Square: Break-In Transmission. Unpublished instal-lation notes. Rhona Hoffman Gallery, Chicago.

Niland, R. 1999. LD vs. DVD:A fundamental differ-ence. Replication News, June, at www.frii.com/~rjn/laser/legacy/ld96.htm (accessed 11/7/00).

Stauderman, S., and P. Messier. 1999 and ongoing.Videotape identification, at www.video-id.com(accessed 11/10/00).

Tuer, D. 1997. Mirrors and mimesis: An examinationof the strategies of image appropriation and repeti-tion in the work of Dara Birnbaum. n.paradoxa, Issue 3.

Van Bogart, J. 1995. Magnetic tape storage and handling:A guide for libraries and archives. Washington, D.C.:National Media Lab and Commission on Preserva-tion and Access.

Van Bogart, J. 1996. Long-term preservation of digi-tal materials. Unpublished handouts for talk at theNational Preservation Office Conference on “Preser-vation and Digitisation: Principles, Practice and Poli-cies,” September 3–5, University of York, England.

Vitale,T., and D. Birnbaum. 2000. Interview with theartist.Video, MiniDV. 60 mins.

Wujcik, A., ed. 1996. Reports of the death due toDVD called premature: Videodisc likely to remainviable technology for years. Educational TechnologyMarkets,The Heller Reports at www.pioneerusa.com/txt/heller1.htm (accessed 11/8/00).

PAUL MESSIER holds an A.B. in art history fromVassar College (1984) and an M.A. and C.A.S. in theconservation of works of art on paper from the StateUniversity College at Buffalo (1990). He is a founderand the first chair of the American Institute forConservation’s Electronic Media Group (1997–99).He served as program chair for the AIC’s 2000Annual Meeting on the theme of electronic media.Since 1998, Messier has held the position of adjunctfaculty of photography conservation at the StateUniversity College at Buffalo. He opened his privatepractice, Boston Art Conservation, in 1994. Thesustaining focus of his practice is the conservation ofphotographs, works of art on paper, and electronic

media. He is a professional associate member of theAmerican Institute for Conservation.Address: BostonArt Conservation, 60 Oak Square Avenue, Boston,Mass. 02135.

Received for review on November 1, 2000. Revisedmanuscript received May 2, 2001.Accepted forpublication June 8, 2001.

209

DARA BIRNBAUM’S TIANANMEN SQUARE: BREAK-IN TRANSMISSION:A CASE STUDY IN THE EXAMINATION, DOCUMENTATION,AND

PRESERVATION OF A VIDEO-BASED INSTALLATION

JAIC 40 (2001):193–209