The co-ordinating organization (ISEA International) has no funding, except for a fee each symposium has to pay them; the board and the archivists work on a voluntary basis. The major disadvantage to the nomadism is that there has never been a systematic collection of the products of the symposia. In 2006 the Mondriaan Fund subsidized the creation of an online archive, currently existing in two versions: the classic version on a Wordpress web-page, curated by Wim van der Plas, and a new version curated by Bonnie Mitchell and Jan Searleman with the help of students and volunteers.

The Ars Electronica festival takes place in Linz annually, bringing together artists and scientists from all over the world for four days to discuss and form a vision of how technology will develop in the next 10-15 years. About 1600 artists and more than 10,000 spectators take part in it every year.

Despite the absence of any media art institutions in the Ukraine, its history dates back to the 1990s. In 2008 when Yanina Prudenko was creating an academic course on Ukaranian media art she found out that the history of its early years existed only in the oral form of anecdotes and VHS records. There was almost no secondary literature on the subject. In order to build a consistent narrative she had to conduct a series of interviews with artists and curators. She identified three independent stages in the Ukranian media art history. The first one began with the fall of the USSR when Ukranian artists were no longer ideologically restricted neither in media, nor in the subjects for their art. They eagerly picked up video technologies that were brought from the West.
In mid-1990s CCA Soros in Kiev and Odessa raised the first generation of the Ukranian digital artists by launching workshops, festivals and exhibitions of digital art. That proved to be a stillborn baby: when the organization curtailed its activities at the beginning of the 2000s, the Ukraine could no longer support media art events.
A new stage began in the late 2000s when a new generation of ‘digital natives’ grew up. The gaps between the generations could be explained by the lack of new media art educational institutions. The older generations simply couldn't pass their skills and knowledge on.
Yanina Prudenko started the Open Archive of Ukrainian Media Art in 2008 as a completely independent project. In 2013 the archive received a non-governmental grant to develop a website.

Anton Lapov focuses on methodological problems in the studies of Ukrainian media art which in global context is traditionally legitimized via the history of expansion of the CCA Soros in post-soviet countries. In particular, he considered this question through three connected optics: a) cultural and intellectual (self)colonization, b) questions of categorization and genre definition of technological сreation, c) question about methodology of research of “peripheral” art practices. The Open Archive of Ukranian Media Art for Lapov is a space of searching for answers to corresponding questions: a) “What is Ukrainian Media-Art”, b) “What is Media-Art?”, c) “What is art?”.

The model of web archiving at New York Art Resources Consortium (NYARC).
NYARC consists of the research libraries and archives of three leading art museums in New York: The Frick Collection, Brooklyn Museum, and MoMA. Web archiving is performed through Archive-It software and is aimed at making up 10 collections, thematic and institution-based. It is important to ‘harvest’ online content in order to capture the shifts in the production of content, to preserve unique interactive content that exists only online, and to provide a bibliographic record.
On the example of archiving online content at moma.org the challenges of this process are outlined: capturing flash content and the problem of automated capture, which is very often inadequate, so for research purposes, it is important that a human performs the archiving.

The second model is the Archive of Digital Art (ADA, formerly known as the Database of Virtual Art). Started in 1999 by Oliver Grau, it is one of the oldest archives in the field. The three main components are institutional profiles, artworks profiles, and personal artists’ profiles. The archive is similar to a social network, as the artists contribute to their pages themselves, and in itself is an art historical document.