The selected case studies from Geert Mul’s œuvre represent key contributions to Dutch born-digital heritage. Created by a first generation of digital-native artists, these works are emblematic of a time when image analysis, real-time interaction, and generative processes defined new artistic possibilities. Yet despite their cultural value, such works are rarely acquired by public collections, leaving long-term care in the hands of the artists themselves.

The following section outlines these three groups, providing a summary of each case study and illustrating how the research has addressed the key questions related to the preservation and presentation of each artwork. Working across multiple groups of works, we highlight the critical questions surrounding the longevity and reinstallation of interactive, digitally dependent pieces. At the heart of this investigation are the feasibility of reinstalling these works in the future and the impact of rapid technological advancements and obsolescence on their functionality.

Each group of artworks was scrutinised for its distinct characteristics, technical dependencies, and preservation challenges, offering insights into the delicate balance between creative innovation, interactivity, and long-term sustainability in the digital art world. From large-scale projections to sensor-based interactive installations, these works challenge traditional definitions of art, pushing the limits of what can be achieved in a rapidly changing technological environment.

LI-MA’s digital repository plays a crucial role in addressing these challenges, safeguarding both the software and hardware dependencies necessary for the preservation and future presentation of these pieces. Through ongoing collaboration between the artist and preservation specialists, we ensure that Geert Mul's pioneering works can continue to be experienced by future generations, even as the technology evolves or becomes obsolete.

Group 1: Toen en Nu (1990)

Group 1 includes Toen en Nu, a live-generated digital artwork, created in AmigaBASIC, which explores the fleeting nature of the present through the repetitive display of the words “nu” (now) and “toen” (then). The case study addressed how to maintain the balance between old and new technologies, and under what conditions the artwork can still be exhibited. 

Group 2: Interactive Landscape and Memory Works (2005-2017)

Group 2 brings forward works that interact with viewers through sensors and databases, inviting a more immersive, participatory experience. These works, including Horizons and Shan Shui, rely heavily on custom-built software, sensors, and high-end projectors. The research questions for this group focus on maintaining these interactive aspects as technology evolves, and exploring the parameters necessary to ensure these works can be reinstalled over time.

Group 3: Internet, Memory, and Image Manipulation (2000-2010)

Group 3 shifts towards a more direct engagement with internet-based content and memory. From the vast image database of God’s Browser to the stills captured in The Library of Babel, these works raise significant concerns about the long-term viability of digital archives. These pieces explore the boundaries between individual and collective memory, all while deploying dynamic, generative software that requires constant maintenance and upgrades to function effectively.

Header image: Geert Mul, Shan Shui (2013)