Playing the Time Stratum Series Back(wards) (Excerpt)

Introduction

At Media Art Studies 2023: Playing with Your Eyes, held at Civic Creative Base Tokyo from July 7 to August 20, 2023, three works from Iwai Toshio’s Time Stratum series (1985–90) were re-exhibited. Over twenty-five years have passed since the series was last shown, but the collaborative efforts of the CCBT team and the artist meant the works could be exhibited again in almost the same state as they were when first produced.

To preserve his work, Iwai owns over a hundred computers that he bought when he first created the works, making him a rare example of a media artist who has consciously thought about the future conservation of his work and put that into practice. The equipment and housing used to re-exhibit the series at CCBT for this event were mostly the ones that Iwai had personally stored in his warehouse. Though this was a general warehouse and not a specialist storage facility like an art museum would use, storing the items in wooden boxes seemed to protect the works and equipment from deteriorating more than might be imagined.

The following report looks back on the process that led up to the re-exhibition of the Time Stratum series, reflecting on it as a case study of new media art restoration.

Many computer peripherals and monitors are stored in the warehouse.

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1. Time Stratum Series

All of Iwai Toshio’s works from the Time Stratum series were originally presented between 1985 and 1990. The works added new technology to pre-film devices like the phenakistiscope (also known as the phenakistoscope) and zoetrope to transmute images.

1.1 Work Descriptions

Based on exhibition panels and catalogue for Which One’s Which? Iwai Toshio: A Retrospective—A House of 100 Stories and Media Art

Time Stratum I (1985)

Time Stratum II (1985)

Time Stratum III (1989)

Time Stratum IV (1990)

1.2 Video Playback Devices

The first two works in the series were made at the same time, as were the third and fourth. The playback device for the first two works was a videocassette player, and a computer for the latter works. Though videotape deteriorates if played on a loop, a computer can play back footage of a consistent quality. Time Stratum III used computers to synthesize video and music on three devices at once.
The display devices, on the other hand, were a cathode-ray tube (CRT) monitor for the first three works, and a CRT video projector for the fourth. While the functional differences in terms of light diffusion and control of the moving image are evident, the Time Stratum series is characterized by the quality of moving image achieved through CRT technology that current LCDs and LEDs cannot display.

1.3 Alternative Versions

Alternative versions of Time Stratum I and Time Stratum II were made for exhibiting at events so that many people could view the works in a short period of time. These event versions were exhibited in a format similar to a film screening. Another version of Time Stratum IV was also created for his later work Well of Lights (1992) and for exhibiting at the Japan Pavilion at the Seville Expo in 1992, with a different disk size and animation motifs.

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2. Restoration Approaches and Exhibited States

The first, third, and fourth iterations of Time Stratum were re-exhibited at CCBT, along with the disk from the event version of Time Stratum II as part of an archival exhibit. With the aim of displaying the three works in as close as possible to their original states, we adopted the following approaches to their restoration and exhibition.

Time Stratum I
1. Restoration
– The original housing was used.
– We searched for new CRT monitors of the same model originally used. If the same model could not be found, using a different model but in the same size was the alternative solution (though smaller monitors were also possible).
– The work originally used a VHS tape. The footage was digitized for playing on media player software.

2. Exhibited State
We were able to obtain two small CRT monitors as substitutes. The digitally restored video footage was played on the monitors.

Time Stratum III
1. Restoration
– The original housing was used, though measures to prevent rust were necessary.
– We planned to use the original equipment and carry out repairs if necessary. If repairing it were not possible, a search would be undertaken for usable equipment of the same type. If the same type could not be found, using currently available equipment was an alternative approach.

2. Exhibited State
The work was exhibited in its original form.

Time Stratum IV
1. Restoration
– The original housing was used.
– The original CRT video projector had not been preserved. The work could not be exhibited unless a projector of the same type was found.
– An MSX computer of the same model as originally used had been preserved and tests were carried out to see if it could be used and repaired. If repairing it were not possible, rewriting the source code was another option. If the cables were defective, a search could be undertaken replacements on the secondhand market.

2. Exhibited State
Because we were able to obtain a CRT video projector, the work could be exhibited in its original form.

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3. Restoration Process

Looking back chronologically on the process of re-exhibiting the Time Stratum series at CCBT, the restoration work can be divided into three phases.

3.1 Phase 1: Preparation (2022–May 2023)

April 7, 2023: Proposal to exhibit three Time Stratum works

Iwai’s new proposal included exhibiting the first and third works in the series, in addition to the fourth. He also proposed considering the use of substitute equipment during the restoration process.

May 6, 2023: Specialist in CRT video projectors found

May 12, 2023: Removing works from Iwai Toshio’s personal warehouse

Iwai built a warehouse at his home to store the wooden boxes that returned from his solo exhibition held in 1994 at ZKM in Germany and then Finland and the Netherlands. People involved in the new exhibition, including the CCBT team, checked what was inside the warehouse, which they found to be well preserved.

May 13, 2023: Works arrive at CCBT

After everything arrived CCBT, the contents were checked against the list of parts we had compiled. For parts that no longer functioned, we contacted professionals about the possibility of repairing them, and carried out full maintenance and replaced the floppy disk drives.

May 18, 2023: Unpacking and checking works at CCBT with Iwai Toshio

The artist and CCBT team checked the state of the works and equipment. Though the works showed signs of deterioration, they were usable in their present state. It was clear, however, that the devices for playing or displaying the video required migration (digitization from an analog format, capturing in a different format, etc.) or repair. At this stage, the final approaches to be taken for restoring and re-exhibiting the works were largely decided.

3.2 Phase 2: Restoration (May 19–July 7, 2023)

Analog Videotape Migration

Migrating an analog videotape necessitates confirmation of the original video frame rate. The playback device (media player software, DVD player, etc.) and display device (monitor, project) must be compatible, making it necessary to perform tests when deciding which device to use.

Finding and Installing a CRT Video Projector

A CRT video projector has a special way of making adjustments not found in current projectors. In addition to using a remote control, there is a switch for flipping the video upside down as well as screws for adjusting the angle of the lens. If time and budget allows, it is ideal to adjust and install this kind of projector after receiving instruction from an expert.

MSX2 and MSX2+ Repairs

We also found someone capable of repairing the MSX2 and MSX2+ computers used for Time Stratum III and Time Stratum IV, allowing us to re-exhibit the works using the original equipment. The following points refer to specific issues related to repairing the Sony MSX computers and re-exhibiting the works.

1) Defective Floppy Disk Drive Belt
One of the main causes for MSX computers breaking down is a defective floppy disk drive. As the Sony model was made with a rubber belt, we replaced it with a beltless drive.

4) Programs Dependent on MSX Models
A ROM compiler is needed to use the compiling functions in the Sony MSX, but not for the Sanyo MSX because it has a built-in compiler.
Depending on the model of the built-in compiler, though, the code may need to be changed for it to function correctly. Time Stratum III and Time Stratum IV both require either a ROM compiler or built-in compiler to be exhibited.

5) Floppy Disk Backups
Copies have to be made of the floppy disks in advance. In addition to duplicating the disks, we saved the data and code on memory sticks. We also printed out the source code.

6) Manuals and Information on Technical Specs for MSX and Peripherals
Since using an MSX device differs from current computers, preparing manuals is a must. It is also recommended to collect manuals and such for peripherals.

Phase 3: Future Preparation (July 8–August 21, 2023)

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4. Challenges

Courage to Let Go
It is now apparent that there are professionals capable of repairing the equipment used in the Time Stratum series. Almost-forgotten audio media like cassette tapes and vinyl records are also experiencing a revival of late. Considering their material and archival value as well as storing original equipment and materials improve the possibility to repair and restore media art works in the future.

Technical Support Discontinued
The Sony monitor that is one of the key pieces of original equipment for the Time Stratum series is no longer supposed to be used at the request of the manufacturer due to the risk of accident it poses. An American manufacturer is making and selling new monitors, which could be used for future exhibitions instead of the Sony device.

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5. Conclusion: Playing the Time Stratum Series Back (wards)

Case Study in Restoring a Work from a Private Collection with the Artist
The works from the Time Stratum series exhibited at CCBT are part of the artist’s private collection, and the team worked directly with Iwai to consider the approaches taken in the restoration process. In the case of a work from an art museum collection, the museum’s intentions take precedence, and things may not go how the artist wishes. In cases where the artist is absent from the process, the restoration of the work may run into problems unless appropriate instructions and guiding principles are in place. The restoration process this time unfolded somewhat like a vicarious experience of creating the works. To restore a work, you need to ascertain what turning back time to lay the groundwork in the present as well as making decisions really entails.

Toward a Reassessment and Secure Legacy of the Work
Printing out the source code and exporting the MIDI signal data during the two and third phases of the restoration enabled the people who knew the works’ original production processes to rediscover that past. A further significant achievement was carrying out optimum repairs and backups now in order to safeguard the continued development of the work.

The Era of Made in Japan
Of the devices we repaired to exhibit the Time Stratum series, Japanese manufacturers played important roles in developing the standards for videotapes, MIDI, and MSX. We now need to reassess the media art created during this period within the social and technological contexts of Japan at that time.

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6. Project Members