Arts & International Affairs: Volume 2, Issue 1 | Page 78

meaning of digital art, and even embracing the ephemeral qualities of some
forms of art rather than seeing them as delegitimizing factors. The point is
that, just as physical art objects need a level of care and conservation, so too
do digital materials. This, however, does not mean that digital or virtual art
projects need to emulate the traditional preservation strategies of physical
museums nor should every cultural or art initiative and output be subjected
to permanent archiving. It might be that it is museums themselves that
need to learn from the fluidity, adaptability, openness, and experimental
nature of digital projects and their preservation approaches. This need
not be a question of hierarchy or competition, but that of lesson learning,
collaboration, and cross-pollination of strategies.
In terms of Autopoiesis, the project’s preservation strategy is primarily around
ensuring a long term support for web hosting and server management for
the project’s website, as it is the main platform for receiving, hosting, and
exhibiting public art submissions. A periodic backup process is conducted
for all material residing on Autopoiesis platform. As the project keeps growing,
the project curator will continue to collaborate with the platform designers
to explore optimal approaches for the project’s sustainability.
Conclusion: Toward an autopoietic public art 2.0
Issues of participation, engagement, and access remain important concerns in
processes of cultural production, curation, representation, and dissemination.
This article examined the curatorial role of Web �.� platforms, especially in
enabling forms of participatory culture beyond the frameworks and criteria
of dominant institutions and their traditional curatorial practices. This
examination has led to the conclusion that while digital platforms herald
a potential for greater public participation in culture and the possibility
of wider and more democratized forms of access and inclusion, they also
remain subject to some familiar limitations and inextricably tied to local
constraints and material contexts. The example of Autopoiesis is a case in
point. By reflecting on the aims, advantages, and limitations of this Web
�.�-mediated public art project, we were able to unravel the complex
socio-political and practical issues which directly and indirectly affect the
functioning, outreach, and success of the project.
Currently, the majority of mainstream UAE cultural institutions are
mainly preoccupied with investing in the building of grand eye-catching
projects such as the new Cultural District of the Saadiyat Island, which will
be home to some of the most ambitious and extravagant museum projects
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