She is a restorer, archivist and consultant. She was educated at the Academy of Fine Arts in Cracow in traditional methods of restoration and preservation, and at the Intermedia Department where she completed her Ph.D. in the field of theory and practice of fine art restoration in the era of digital media. She participated in research projects on film, video and net art preservation. Wysocka published the award – winning book Wirtualne ciało sztuki. Ochrona i udostępnianie dzieł audiowizualnych / The Virtual Body of Art. The Preservation and Access of Audiovisual Art (Polish National Centre for Culture, 2013).
As a Digital Repository Project coordinator, Wysocka has been responsible for overseeing the National Film Archive digital collection, for the supervision of digitalisation and restoration of film materials, among other things, and for the restoration of animated and experimental movies from the Animated Film Studio in Cracow and Se-Ma-For Studio in Łódź.
Transparency of archival processes
Transparency of archival processes and protecting the integrity of collected objects by documenting all conservation and restoration treatments is a well-established standard in the field of conservation, but at the same time it is a difficult duty to fulfill, and with many contemporary artworks it feels like an unattainable goal. All audiovisual artwork and new media are raising new questions. What exactly should we document and how detailed the documentation should be when talking about time-based media that are variable because of its nature and regularly are obsolete? What kind of technical information should we obtain from third parties, such as labs or postproduction studios, to protect authenticity and the integrity of audiovisual artworks? Should restoration documentation of time-based media also be time-based? Tracking processes of digitization and further reformatting film to various digital manifestations will be essential for any sustainable archive or museum. It becomes even more precious for future generations that may BEÖTHY Balázs: Médium / Medium C-print on prismatic board / 2002, lentikuláris nyomat Ludwig Museum – Museum of Contemporary Art, Budapest / Ludwig Múzeum – Kortárs Művészeti Múzeum not have access to analogue sources, and learn about cinematographic heritage purely through its digital versions, as film becomes a more and more obsolete medium. From the beginning of 2016, the National Film Archive extended the metadata structure of the Media Asset Manager, to record useful information on conservation, digitization, and restoration of image and sound. Connecting information from various sources aims to build a clearer image of digitalized objects and the whole collection. Thanks to such improved database, previous separation of activities and its presentation of same, by various documents is developing into one coherent workflow with a more clearly expressed decision making process, parameters used, time taken, and people involved. In my talk I would like to share our experiences on how registering of preservation processes helps us to manage the lifecycle of our archival objects from acquisition through conservation and digitization to restoration.