Preserving and Exhibiting Media Art

Acknowledgements
Introduction
Julia Noordegraaf
Part I: History, Archaeology, Aesthetics, Archive: Theoretical Paths
Introduction
Vinzenz Hediger
1. Between Art History and Media History: A Brief Introduction to Media Art
Chris Wahl
2. Media Archaeology: Where Film History, Media Art, and New Media (Can) Meet
Wanda Strauven
3. Media Aesthetics
Dario Marchiori
4. Media Art and the Digital Archive
Cosetta G. Saba
Part II: Analysis, Documentation, Archiving
Introduction
Julia Noordegraaf
5. The Analysis of the Artwork
Dario Marchiori
6. Methodologies of Multimedial Documentation and Archiving
6.1 Enjoying the Gap: Comparing Contemporary Documentation Strategies
Annet Dekker
6.2 Case Study: No Ghost Just a Shell by Pierre Huyghe, Philippe Parreno, and Many Others
Vivian van Saaze
6.3 The Artist's Interviews as a Tool for Documenting and Recreating a Complex Installation: The Example of Mbude, an Audio-Installation by Roberto Cuoghi in the Museo Del Novecento, Milan
Iolanda Ratti
6.4 MAXXI Pilot Tests Regarding the Documentation of Installation Art
Alessandra Barbuto and Laura Barreca
Part III: Technological Platforms, Preservation, and Restoration
Introduction
Cosetta G. Saba
7. Technological Platforms
Introduction
Simone Venturini
7.1 The History and Technological Characteristics of Cinematographic Production and Reception Devices
Simone Venturini and Mirco Santi
7.2 The History and Technological Characteristics of Video Production and Reception Devices
Alessandro Bordina
7.3 Computers and Digital Reception Devices: History and Technological Characteristics
Tabea Lurk and Jürgen Enge 7.4 Obsolete Equipment: Ethics and Practices of Media Art Conservation Gaby Wijers
8. Theories, Techniques, Decision-making Models: The European Context
8.1 Operational Practices for a Film and Video Preservation and Restoration Protocol
Alessandro Bordina and Simone Venturini
8.2 Operational Practices for a Digital Preservation and Restoration Protocol
Jürgen Enge and Tabea Lurk
8.3 Case Study: The Conservation of Media Art at Tate: An Interview with Pip Laurenson (Head of Time-based Media Conservation at Tate)
Julia Noordegraaf
Part IV: Access, Reuse, and Exhibition
Introduction
Barbara Le Maître
9. Exhibition Strategies
Introduction
Barbara Le Maître and Senta Siewert
9.1 From Cinema to the Museum: A State of Affairs
9.1.1. A "Cinema Effect" in Contemporary Art
Philippe Dubois
9.2 Exhibiting Images in Movement
9.2.1 Exhibiting/Editing: Dominique Païni and Programming at the Cinémathèque française at the Turn of the Centenary
Stéphanie-Emmanuelle Louis
9.2.2. The Expanded Archive: The MindFrames exhibition
Claudia D'Alonzo
9.2.3 Exhibiting Film and Reinventing the Painting
Barbara Le Maître
9.3 The Image Traveling across Territories: Cinema, Video, TV, Museum, the Web, and beyond
9.3.1 On Passages Between Art and Cinema
Ariane Noël de Tilly
9.3.2 Across the Territories: Exhibiting Music Video
Senta Siewert
9.3.3 Developing, Presenting, and Documenting Unstable Media at V2_
Arie Altena
9.4 New Dispositifs, New Modes of Reception
9.4.1 Video Installations as Experiences in Montage
Térésa Faucon
9.4.2 From the Film to the Map: Patrick Keiller and The City of the Future
Teresa Castro
9.4.3 Site-specific Exhibition and Reexhibition Strategies: Max Neuhaus's Times Square
Elena Biserna
9.4.4 From Archival Model to Exhibition Platform? Video Art As a Web Resource and the imai Online Catalogue
Renate Buschmann
10. On Curating New Media Art Sarah Cook
Epilogue
Julia Noordegraaf and Ariane Noël de Tilly
List of contributors
Index