Preserving and Exhibiting Media Art edited by Julia Noordegraaf, Cosetta G. Saba, Barbara Le Maître, and Vinzenz Hediger presents techniques for storing, preserving, restoring, analyzing, and exhibiting time-based media. The various authors featured in this anthology offer definitions, historical overviews, and case studies related to this topic. They also consider the contexts of production and distribution, as well as, the relationship between the work and the viewer. Preserving and Exhibiting Media Art highlights the innovations spurred by contemporary media arts practices.

Contents:

Acknowledgements;

Introduction by Julia Noordegraaf;

Part 1: History, Archaeology, Aesthetics, Archive: Theoretical Paths

Introduction by Vinzenz Hediger;

Between Art History and Media History: A Brief Introduction to Media Art by Chris Wahl;

Media Archaeology: Where Film History, Media Art, and New Media (Can) Meet by Wanda Strauven;

Media Aesthetics by Dario Marchiori;

Media Art and the Digital Archive by Cosetta G. Saba;

Part 2: Analysis, Documentation, Archiving

Introduction by Julia Noordegraaf;

The Analysis of the Artwork by Dario Marchiori;

Enjoying the Gap: Comparing Contemporary Documentation Strategies by Annet Dekker;

Case Study: No Ghost Just a Shell by Pierre Huyghe, Philippe Parreno, and Many Others by Vivian Van Saaze;

The Artists's Interview as a Tool for Documenting and Recreating a Complex Installation by Roberto Cuoghi in the Museo Del Novecento, Milan by Iolanda Ratti;

MAXXI Pilot Tests Regarding the Documentation of Installation Art by Alessandra Barbuto and Laura Barreca;

Part 3: Technological Platforms, Preservation, and Restoration

Introduction by Cosetta G. Saba;

Technological Platforms: Introduction by Simone Venturini;

The History of Technological Characteristics of Cinematographic Production and Reception Devices by Simone Venturini and Micro Santi;

The History and Technological Characteristics of Video Production and Reception Devices by Alessandro Bordina;

Computers and Digital Reception Devices: History and Technological Characteristics by Tabea Lurk and Jürgen Enge;

Obsolete Equipment: Ethics and Practices of Media Art Conservation by Gaby Wijers;

Operational Practices for a Film and Video Preservation and Restoration Protocol by Alessandro Bordina and Simone Venturini;

Operational Practices for a Digital Preservation and Restoration Protocol by Jürgen Enge and Tabea Lurk;

Case Study: The Conservation of Media Art at Tate by Julia Noordegraff with Pip Laurenson;

Part 4: Access, Reuse, and Exhibition

Introduction by Barbara Le Maître;

Exhibition Strategies: Introduction by Barbara Le Maître and Senta Siewert;

From Cinema to the Museum: A State of Affairs;

A "Cinema Effect" in Contemporary Art by Philippe DuBois;

Exhibiting Images in Movement;

Exhibiting/Editing: Dominique Païni and Programming at the Cinémathèque française at the Turn of the Centenary by Stéphanie-Emmanuelle Louis;

The Expanded Archive: The MindFrames exhibition by Claudia D'Alonzo;

Exhibiting Film and Reinventing the Painting by Barbara Le Maître;

The Image Traveling across Territories: Cinema, Video, TV, Museum, the Web, and beyond;

On Passages Between Art and Cinema by Ariane Noël de Tilly;

Across the Territories: Exhibiting Music Video by Senta Siewert;

Developing, Presenting, and Documenting Unstable Media at V2_ by Arie Altena;

New Dispositifs, New Modes of Reception;

Video Installations as Experiences in Montage by Térésa Faucon;

From the Film to the Map: Patrick Keiller and The City of the Future by Teresa Castro;

Site-Specific Exhibition and Reexhibition Strategies: Max Neuhaus's Times Square by Elena Biserna;

From Archival Model to Exhibition Platform? Video Art As a Web Resource and the imai Online Catalogue by Renate Buschmann;

On Curating New Media Art by Sarah Cook;

Epilogue by Julia Noordegraaf and Ariane Noël de Tilly;

List of Contributors;

Index.