While I was starting my research during a masters program in museum studies, I was very interested in the ethics of conservation, in a strictly physical sense with art works. At the time (circa 2002), the digital was too elusive for me, too mysterious to really grasp and get a handle of, and in some ways, it is still a bit of a mystery for most. There are tried and true methods in physical conservation work for known materials like oil paints and stone, but with digital media the waters seem to be much more unknown and murky. We've probably all had the experience of a corrupt file or an old format that has no immediately available software solution to access it. In this regard, the digital format is quite fragile and dependent on a number of ways to access and read the file. One thing I've always thought was so difficult in the whole topic of migration is taking stock of all the implications in the digital life cycle of any media format- with questions like: What are we ...