DATA: Catalogue 2019 edition

Reference:GB 254 MS 339/1/16
Dates of Creation:2019
Name of Creator:
Physical Description:

Scope and Content
DATA (Daily Action Time Archive) 1980-1989 catalogue, revised March 2019 by aitch and viktor kotun. Divided into five parts, the catalogue provides 'an account of DATA archived within Artpool, the Scottish Gallery of Modern Art & Dundee University Archives'. Also included are 'DATA installations': images of DATA installations at Belfast University, Cupar arts Festival, Rotterdam, Dundee, Glasgow and the Scottish National Gallery of Modern Art
Administrative / Biographical History
Creator of the digital archive ar phor. When the life of Peter Haining came to a creative end, a digital 10-year artwork commenced on 01.01.2010. Its title, and the name of the artist, were a humerous wordplay: 'A' was for 'animation', 'audio', 'artist', and the artist's name, 'aitch'. The titles of the first animations to be completed by aitch also began with A, for example, 'A 2 A: a commission for Fife Arts'. As ae phor developed and found its own distinctive style and language, each of the animations began with a letter of the alphabet, for example: 'C4 consumerism', 'D4 dinosaur', 'E4 ettrick', 'H4 hospital', 'O4 objects', 'R4 retina', and 'T4 terrain'. In addition to being playful, ae phor animations and audioworks were experimental and spontaneous, often relying on serendipity and accident to bring about resolutions and outcomes. ae phor deployed final cut pro and its associated software – soundtrack pro and dvd pro – as well as 2 adobe packages – photoshop and after effects to make productions. Limited edition DVDs of these were distributed freely to friends and archives. Digital technology encouraged and supported free distribution, which had been established as a guiding principle during DATA, because production costs were so minimal. All working files for animations and audioworks, as well as emails and various documents were archived and stored on external hard drives, which are in the National Library of Scotland collections along with the Mac desktop and software. The ae phor archive is therefore as complete a documentation of a 10-year working practice as was then possible. The ae phor digital artwork began life in Dundee, then moved south of the River Tay to Fife in 2011 where it was first located in a studio in Markinch before moving to a smaller space in Kirkcaldy. In 2014 aitch cycled down to the Scottish borders to research residential property so that he could live in the region and make a digital artwork based on the geological and political border. Thereby marking the vote for Scottish independence. This became 'Working the Border', based on a walk along the 95- mile line. From Galashiels aitch moved to Hawick, which opened up new vistas and potentials to explore creatively. After 6 months he moved again, eastwards to the coast where his animations brought together a cello and a colony of grey seals. The symbolism of rivers was a strong pull however and one with which he wanted to bring the ae phor decade to a close. Selkirk provided an ideal base from which to document the rivers Yarrow and Ettrick, these animations being completed in 2018 and 19 respectively.
Access Information
Open for consultation subject to preservation requirements. Access must also conform to the restrictions of the Data Protection Act (2018), General Data Protection Regulation (GDPR, 2018) and any other relevant legislation or restrictions. Clinical information is closed for 100 years.
Note
Creator of the digital archive ar phor. When the life of Peter Haining came to a creative end, a digital 10-year artwork commenced on 01.01.2010. Its title, and the name of the artist, were a humerous wordplay: 'A' was for 'animation', 'audio', 'artist', and the artist's name, 'aitch'. The titles of the first animations to be completed by aitch also began with A, for example, 'A 2 A: a commission for Fife Arts'. As ae phor developed and found its own distinctive style and language, each of the animations began with a letter of the alphabet, for example: 'C4 consumerism', 'D4 dinosaur', 'E4 ettrick', 'H4 hospital', 'O4 objects', 'R4 retina', and 'T4 terrain'. In addition to being playful, ae phor animations and audioworks were experimental and spontaneous, often relying on serendipity and accident to bring about resolutions and outcomes. ae phor deployed final cut pro and its associated software – soundtrack pro and dvd pro – as well as 2 adobe packages – photoshop and after effects to make productions. Limited edition DVDs of these were distributed freely to friends and archives. Digital technology encouraged and supported free distribution, which had been established as a guiding principle during DATA, because production costs were so minimal. All working files for animations and audioworks, as well as emails and various documents were archived and stored on external hard drives, which are in the National Library of Scotland collections along with the Mac desktop and software. The ae phor archive is therefore as complete a documentation of a 10-year working practice as was then possible. The ae phor digital artwork began life in Dundee, then moved south of the River Tay to Fife in 2011 where it was first located in a studio in Markinch before moving to a smaller space in Kirkcaldy. In 2014 aitch cycled down to the Scottish borders to research residential property so that he could live in the region and make a digital artwork based on the geological and political border. Thereby marking the vote for Scottish independence. This became 'Working the Border', based on a walk along the 95- mile line. From Galashiels aitch moved to Hawick, which opened up new vistas and potentials to explore creatively. After 6 months he moved again, eastwards to the coast where his animations brought together a cello and a colony of grey seals. The symbolism of rivers was a strong pull however and one with which he wanted to bring the ae phor decade to a close. Selkirk provided an ideal base from which to document the rivers Yarrow and Ettrick, these animations being completed in 2018 and 19 respectively.
Archivist's Note
Description compiled by JMM March 2020
Conditions Governing Use
Reproduction is available subject to preservation requirements. Charges may be made for this service, and copyright and other restrictions may apply; please check with the Duty Archivist.
Accruals
Not expected
Additional Information
Published