Present Continuous Past(s): Media Art. Strategies of Presentation, Mediation and Dissemination

With a history of more than 30 years, media art plays an increasingly important role in the international discourse on contemporary art. The reception of canonical video works and electronic media installations is however restricted to temporary and locally defined displays in museum exhibitions or confined to incomplete catalogue documentations. This volume provides a unique combination of theoretical reflections on the reproducibility, preservation of authenticity and juridical implications of emulation techniques with practical approaches to archiving methods and commercial aspects of media art's accessibility. It is an indispensible guide to the pro's and con's for new forms of de-centralized systems of mediation and the growing demands for liberal rules and easy access to online-presentations of media art. Uncomparable to other current publications, the book offers a practical manual with checklists for relevant websites and content profiles of major distribution companies.

Table of Contents:
Preface.- Introduction.- Ursula Frohne, The Artwork as Temporal Form. Giving Access to the Historicity, Context and Discursiveness of Media Art.- Ulrike Rosenbach, Thirty Years of Media Art by Ulrike Rosenbach - Experience in Mediation and Reproduction.- Sabine Flach, "Withdrawal as an Artform" - Between Withdrawal and Presentation - The Body in the Media Arts.- Elke Bippus, Dirck Mollmann, Montage and Image Environments: Narrative Forms in Contemporary Video Art.- Mona Schieren, Media storage. On documenting and Archiving Media Art.- Lydia Haustein, Global Icons.- Dieter Daniels, Before and after video art - Television as a subject and material for art around 1963, and a glance at net art since the 1990s.- Katharina Ammann, Dan Graham's Designs for Video Presentations: Art, Commentary and Solution.- Hans D. Christ, Stan Douglas, "Win, Place or Show".- Dennis Del Favero / Neil Brown / Jeffrey Shaw / Peter Weibel, T_Visionarium: the aesthetic transcription of televisual databases.- Jean-Francois Guiton, www.guiton.de.- Rudolf Frieling, Database and Context Artistic Strategies within a Dynamic Field of Action.- Monika Fleischmann / Wolfgang Strauss, On the Development of netzspannung.org - An Online Archive and Transfer Instrument for Communicating Digital Art and Culture.- Rens Fromme / Sandra Fauconnier, Capturing Unstable Media Arts - A formal model for describing and preserving aspects of electronic Media Art.- Lori Zippay, The Digital Mystique: Video Art, Aura and Access.- Bart Rutten, "How to deliver what is asked".- Biographies.- Selected bibliography.- Photo credits

About the Author :
URSULA ANNA FROHNE, studied history of art. 1995-2002 curator at the ZKM, Karlsruhe, Germany. Numerous professorships; currently professor for art history at the International University Bremen, Germany. MONA SCHIEREN, studied history of art. Lecturer at the department of cultural history, University of Hamburg, as well as research associate and project manager of the iMediathek, University of the Arts, Bremen. JEAN-FRANCOIS GUITON, studied at the Academy of Art in Dusseldorf. Numerous professorships; since 1998 teaching assignement at the Hochschule fur Kunste, Bremen. Ursula Anna Frohne is an art historian and cultural theorist. She has been curator at the ZKM | Center for Art and Media in Karlsruhe (Germany) from 1995-2002 and has taught art history, visual studies, cultural studies, and media theory at the Academy for Design in Karlsruhe since 1997. She was Visiting Professor at the Department of Modern Culture and Media, Brown University in 2001/2002 and is currently Professor for Art History at the International University Bremen (Germany). After studying art history she received her PhD with a thesis on the social history of the American artist at the Freie Universitat Berlin, where she taught at the Department for Art History from 1988-1995. Her research has been funded with grants from the J. Paul Getty Center for the History of Art and the Humanities, Santa Monica (1990/91), the American Council for the Learned Societies (1994/95) and the Pembroke Center, Brown University, Providence, R.I. (2001/02). The focus of her work is in contemporary art, photography, film, video and installation, theory of image media and new media. She has been curator for numerous exhibitions on contemporary art and architecture. Mona Schieren was awarded her first degree at the University of Economy and Politics, Hamburg, from where she graduated with the equivalent of an MSc in Business Administration (Diplom-Betriebswirtin). Afterwards she studied History of Art at the University of Hamburg and the Ecole Nationale Superieure d'Art de Nice. She held a research stipend of the University Hamburg for her MA-research project in Paris. She worked and participated in various galleries and projects. She is a lecturer at the Department of Cultural History, University of Hamburg and currently holds a post as a research associate at the University of the Arts Bremen where she is also the project-manager of the iMediathek. In May 2004 she organized the international symposium "Present Continuous Past(s). Videoart. Strategies of Presentation and Mediation". Jean-Francois Guiton. Studied at the Academy of Art in Dusseldorf under Prof. F. Schwegler and U. Wevers. 1985 scholarship student under Prof. F. Schwegler. 1987-94 teaching assignement at the Bergische Universitat-Gesamthochschule in Wuppertal. 1994 teaching assignement at the Ecole des Arts Decoratifs, Strasbourg. 1998 teaching assignement at the Hochschule fur Kunste, Bremen.