Open today: 10:30 am–6 pm
The World's First Collaborative Sentence
Launched 1994, Restored 2013
The World’s First Collaborative Sentence, created by Douglas Davis for a survey exhibition of his work in 1994 and donated to the Whitney in 1995, is a “classic” of Internet art. Allowing users to contribute to a never-ending sentence, it anticipated today’s blog environments and ongoing posts. In early 2012 the Whitney Museum undertook a preservation effort spearheaded by Carol Mancusi-Ungaro, Associate Director of Conservation and Research and Christiane Paul, Adjunct Curator of New Media, in concert with Farris Wahbeh, Manager, Cataloguing and Documentation, and implemented by Ben Fino-Radin, digital conservator at Rhizome, and the Museum's Digital Media department. The result of the initiative are the two versions of the Sentence accessible here.
"The Sentence has no end. Sometimes I think it had no beginning. Now I salute its authors, which means all of us. You have made a wild, precious, awful, delicious, lovable, tragic, vulgar, fearsome, divine thing."
—Douglas Davis, 2000
Davis designed this logo to commemorate the Whitney's 1995 acquisition of the Sentence. Titled "W-M Music" (for Whitney Museum and Wrap Music), the logo refers to a series of audio files, including sounds users contributed.
Preservation of the Work
Over the years, the experience of the Sentence changed and it became non-functional. The result of the preservation initiative are two versions of the Sentence that address the following issues:
- In the process of migrating the work among servers, crucial files (the CGI script) powering the submission form were omitted.
- Improperly formatted user contributions caused text on several pages of the Sentence to become increasingly large. While older browser versions compensated for this issue and correctly displayed the text, newer ones slowed down as a result, rendering the work essentially unusable.
- Many links contributed by visitors became obsolete (a process referred to as “link rot”) because the pages and files to which they point were moved or deleted.
- When the work was shown at the 1995 Gwangju Biennale in South Korea, the Korean character set was not defined in the header, causing several pages of the Sentence to appear as garbled characters.
The new live version restores the work’s functionality and allows visitors to contribute to the piece.The display of the work has been promoted to current standards, so that all text is shown at its original size.
- The original links and URLs posted by users in the past were left “broken,” pointing to the ephemeral nature of the Web and the fact that files may vanish over time.
- The issues surrounding the legibility of the Korean character set have not yet been resolved. While most of the characters were rendered legible after the character set was properly defined in the header of the pages, some remained illegible. The Whitney invites contributions via GitHub to make the Korean text legible for the first time.
- Davis’s instructions have been left intact, though contributions via fax and mail are no longer accepted.
The restored historic version leaves the code mainly untouched. Visitors may not contribute to the historic version. Viewed through an old browser, this version would display the Sentence as it appeared at the time of its creation until it stopped functioning in 2005.
- The links have been modified to point to copies of the original pages at the Internet Archive Wayback Machine, a service that allows people to visit archived versions of Web sites (pages created in the early years of the project may not be accessible through the Wayback Machine). The historic version also allows visitors to compare how the design and conventions of Web pages have changed over the years, e.g. the link to whitehouse.gov—embedded in one of the Sentence’s pages—leads to differently designed pages in the live and the historic versions of the Sentence.
- The Korean character set displays as garbled characters.
Programming: Gary Welz, Robert Schneider.
Originally Commissioned by the Lehman College Art Gallery, The City University of New York, for the exhibition Interactions, curated by Susan Hoeltzel.
Douglas Davis’s The World’s First Collaborative Sentence (1994) is an ongoing textual and graphic online “performance” that was commissioned by the Lehman College Art Gallery, Bronx, N.Y. and The City University of New York, with the assistance of Gary Welz, Robert Schneider, and Susan Hoeltzel. Although the Whitney Museum of American Art acquired the Sentence in 1995 after it was shown in conjuction with Lehman College’s “InterActions,” a 1994 survey exhibition of the artist’s work, the piece was maintained on the website of Lehman College from 1994 until 2005. The work was generously donated to the Whitney by Barbara Schwartz, in honor of Eugene M. Schwartz, her late husband. Together they had purchased the concept and a signed disk with recordings of the first days of the Sentence from the artist.
It began in December 1994, when the Lehman College Art Gallery and its director, Susan Hoeltzel, commissioned The World’s First Collaborative Sentence as part of “InterActions,” a survey of Douglas Davis’ early work (1967-81) in a variety of media, from drawing, printmaking, and photography to performance, videotapes, and live satellite television broadcasting. Using a server provided by the City University of New York (CUNY)—and working closely with professor Robert Schneider in the department of mathematics at Lehman College—Davis documented the exhibition on the Web and created an entirely new work linked to the exhibition’s theme.
The Sentence as it appeared in 1994
These screenshots show the historic version of the Sentence viewed through an early verison of the Netscape browser.
Photographic Documentation, 1995–96
Between 1994 and 2000, The World’s First Collaborative Sentence was exhibited in gallery spaces including Lehman College Art Gallery, Bronx New York; the 1995 Gwangju Biennale, South Korea; and the Whitney Museum of American Art, New York. The below floor plan, installation view, and "official image" of the Sentence provide insight into the work’s distinct materiality.