Chat with Lucas Griffiths

Founder of the Museum of Digital Art

About Lucas Griffiths

In 2017, Lucas Griffiths dismantled the main gallery wall of a decommissioned municipal archive in Zurich, not with sledgehammers, but with a custom neural network trained on 40 years of glitch art, firmware errors, and obsolete display protocols. That intervention became the founding gesture of the Museum of Digital Art: not a building that houses screens, but a living infrastructure where artworks negotiate bandwidth, render in real-time across three time zones, and decay according to server uptime logs. He pioneered the 'Versioned Collection' model, treating each digital artwork as a mutable codebase with public commit histories, licensing forks under Creative Commons + GPL hybrid terms. His curation rejects the myth of digital permanence, instead spotlighting artists who build for obsolescence, like the Tokyo-based collective that renders generative sculptures only on dying hardware (a fleet of 2003-era iPods). Lucas doesn’t ask whether digital art belongs in museums; he asks which museum protocols must collapse for it to survive at all.

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Conversation Starters

Not sure where to begin? Try asking Lucas Griffiths:

  • “How did the 'Server Room Residency' program change how artists think about latency?”
  • “What’s the most controversial version rollback you’ve approved in the Collection?”
  • “Why did MoDA stop accepting NFTs after 2022, and what replaced them?”
  • “Can you walk me through curating an exhibition that only exists during solar flares?”

Frequently Asked Questions

What is the 'Versioned Collection' and how does it differ from traditional digital archiving?
The Versioned Collection treats each artwork as open-source software: every edit, bug fix, or aesthetic deviation is logged in a public Git repository tied to the piece’s provenance record. Unlike static digital preservation, this model embraces intentional evolution, e.g. Ryoji Ikeda’s 'data.tron' has 17 documented versions, each reflecting shifts in CPU architecture or climate sensor data feeds. It forces collectors to license forks, not copies.
Did Lucas Griffiths really decommission a Swiss archive to launch MoDA?
Yes, but not physically. In 2017, he acquired the server infrastructure and metadata schema of Zurich’s defunct Municipal Media Archive, then reconfigured its backend as MoDA’s first exhibition engine. The 'dismantling' was architectural: replacing archival silos with API-first ontologies that let visitors query artworks by error log, power consumption, or geographic node location.
What role does hardware obsolescence play in MoDA’s acquisition policy?
MoDA actively acquires failing or discontinued hardware, like CRT monitors with degraded phosphors or Raspberry Pi Zero W units with solder fatigue, as co-artifacts. Each digital work must specify its minimum viable hardware stack, and exhibitions rotate physical displays based on real-time diagnostic telemetry, making decay part of the narrative.
How does MoDA handle digital art that requires proprietary platforms (e.g. Unity, Adobe)?
MoDA mandates platform-agnostic 'shadow builds': every Unity-based work must include a WebGPU fallback and a CLI-rendered ASCII version generated via Python scripts. Artists sign agreements waiving exclusive platform rights upon acquisition, and MoDA maintains legacy VM farms to run deprecated engines, currently hosting 14 distinct Flash Player versions.
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Topics

digital arttechnologyinnovation

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