ABSTRACT
This chapter begins by examining how curators engaged with the process of collecting computer-based objects or – to extend the computer technology metaphor – the “input” to the museum. It then examines how curators began to collect computer hardware, peripherals, and even the containers for the software (such as the floppy disks) in place of the actual software and how many of the same curators have responded to the acquisition of purely digital objects. This chapter includes case studies such as of Herbie Hancock’s synthesizer and computerized musical instruments, born digital photography from September 11, and the computer code for the iPad app “Planetary," as well as excerpts from interviews with the following museum professionals: David Allison (NMAH); Paul Ceruzzi (NASM); Sebastian Chan and Aaron Straup Cope (former Cooper Hewitt, Smithsonian Design); Alicia Cutler (NMAH); Michelle Delaney (NMAH); Linda Hostetler (former SAAM); Stacey Kluck (NMAH); Matilda McQuaid (Cooper Hewitt, Smithsonian Design); Sharon Perich (NMAH); Ann Seeger (NMAH); Dag Spicer (Computer History Museum); Hal Wallace (NMAH); and Marc Weber (Computer History Museum).
