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 Interview as a Tool for Documenting and Recreating a Complex Installation: The Example of Mbube, 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, 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, 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, Jürgen Enge
74. 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, Simone Venturini
8.2. Operational Practices for a Digital Preservation and Restoration Protocol / Jürgen Enge, 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 Maitre
9. Exhibition Strategies
Introduction / Barbara Le Maitre, 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 Nooroegraaf, Ariane Noël De Tilly
List of contributors
Index.