LEADER 00000cam  2200817Ki 4500 
001    ocn879377176 
003    OCoLC 
005    20181213062321.9 
006    m     o  d         
007    cr cnu---unuuu 
008    140508s2013    ne af   ob    001 0 eng d 
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020    9789048513833|q(electronic bk.) 
020    9048513839|q(electronic bk.) 
020    |z9789089642912 
020    |z9089642919 
024 7  10.26530/OAPEN_530353|2doi 
035    (OCoLC)879377176|z(OCoLC)894573543|z(OCoLC)972504018
       |z(OCoLC)975032514|z(OCoLC)975207409|z(OCoLC)980911814
       |z(OCoLC)981864091|z(OCoLC)987392086|z(OCoLC)988039793
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037    22573/ctt6n550h|bJSTOR 
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049    STJJ 
050  4 PN1995 
072  7 N|2lcco 
072  7 PER|x009000|2bisacsh 
072  7 ART056000|2bisacsh 
072  7 ART000000|2bisacsh 
082 04 791.4301|222 
084    21.99|2bcl 
245 00 Preserving and exhibiting media art :|bchallenges and 
       perspectives /|cJulia Noordegraaf, Cosetta G. Saba, 
       Barbara Le Maître and Vinzenz Hediger (eds.). 
264  1 Amsterdam :|bAmsterdam University Press,|c[2013] 
300    1 online resource (428 pages, 16 unnumbered pages of 
       plates) :|billustrations (some color). 
336    text|btxt|2rdacontent 
337    computer|bc|2rdamedia 
338    online resource|bcr|2rdacarrier 
347    text file|bPDF|2rda 
490 1  Framing film 
504    Includes bibliographical references and index. 
505 00 |tAcknowledgements --|tIntroduction /|rJulia Noordegraaf -
       -|gPart I.|tHistory, Archaeology, Aesthetics, Archive: 
       Theoretical Paths --|tIntroduction /|rVinzenz Hediger --
       |g1.|tBetween Art History and Media History: A Brief 
       Introduction to Media Art /|rChris Wahl --|g2.|tMedia 
       Archaeology: Where Film History, Media Art, and New Media 
       (Can) Meet /|rWanda Strauven --|g3.|tMedia Aesthetics /
       |rDario Marchiori --|g4.|tMedia Art and the Digital 
       Archive /|rCosetta G. Saba --|gPart II.|tAnalysis, 
       Documentation, Archiving --|tIntroduction /|rJulia 
       Noordegraaf --|g5.|tThe Analysis of the Artwork /|rDario 
       Marchiori --|g6.|tMethodologies of Multimedial 
       Documentation and Archiving --|g6.1.|tEnjoying the Gap: 
       Comparing Contemporary Documentation Strategies /|rAnnet 
       Dekker --|g6.2.|tCase Study: No Ghost Just a Shell by 
       Pierre Huyghe, Philippe Parreno, and Many Others /|rVivian
       Van Saaze --|g6.3.|tThe 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 /|rIolanda Ratti --
       |g6.4.|tMAXXI Pilot Tests Regarding the Documentation of 
       Installation Art /|rAlessandra Barbuto, Laura Barreca --
       |gPart III.|tTechnological Platforms, Preservation, and 
       Restoration --|tIntroduction /|rCosetta G. Saba --|g7.
       |tTechnological Platforms --|tIntroduction /|rSimone 
       Venturini --|g7.1.|tThe History and Technological 
       Characteristics of Cinematographic Production and 
       Reception Devices /|rSimone Venturini, Mirco Santi --
       |g7.2.|tThe History and Technological Characteristics of 
       Video Production and Reception Devices /|rAlessandro 
       Bordina --|g7.3.|tComputers and Digital Reception Devices:
       History and Technological Characteristics /|rTabea Lurk, 
       Jorgen Enge --|g74.|tObsolete Equipment: Ethics and 
       Practices of Media Art Conservation /|rGaby Wijers --|g8.
       |tTheories, Techniques, Decision-making Models: The 
       European Context --|g8.1.|tOperational Practices for a 
       Film and Video Preservation and Restoration Protocol /
       |rAlessandro Bordina, Simone Venturini --|g8.2.
       |tOperational Practices for a Digital Preservation and 
       Restoration Protocol /|rJorgen Enge, Tabea Lurk --|g8.3.
       |tCase Study: The Conservation of Media Art at Tate: An 
       Interview with Pip Laurenson (Head of Time-Based Media 
       Conservation at Tate) /|rJulia Noordegraaf --|gPart IV.
       |tAccess, Reuse, and Exhibition --|tIntroduction /
       |rBarbara Le Maitre --|g9.|tExhibition Strategies --
       |tIntroduction /|rBarbara Le Maitre, Senta Siewert --
       |g9.1.|tFrom Cinema to the Museum: A State of Affairs --
       |g9.1.1.|tA "Cinema Effect" in Contemporary Art /
       |rPhilippe Dubois --|g9.2.|tExhibiting Images in Movement 
       --|g9.2.1.|tExhibiting/Editing: Dominique P̐ani and 
       Programming at the Ciňmatḧque fraṅaise at the Turn of the 
       Centenary /|rSťphanie-Emmanuelle Louis --|g9.2.2.|tThe 
       Expanded Archive: The MindFrames exhibition /|rClaudia 
       D'alonzo --|g9.2.3.|tExhibiting Film and Reinventing the 
       Painting /|rBarbara Le M̋atre --|g9.3.|tThe Image 
       Traveling across Territories: Cinema, Video, TV, Museum, 
       the Web, and beyond --|g9.3.1.|tOn Passages Between Art 
       and Cinema /|rAriane No︠l De Tilly --|g9.3.2.|tAcross the 
       Territories: Exhibiting Music Video /|rSenta Siewert --
       |g9.3.3.|tDeveloping, Presenting, and Documenting Unstable
       Media at V2_ /|rArie Altena --|g9.4.|tNew Dispositifs, New
       Modes of Reception --|g9.4.1.|tVideo Installations as 
       Experiences in Montage /|rŤřsa Faucon --|g9.4.2.|tFrom the
       Film to the Map: Patrick Keiller and The City of the 
       Future /|rTeresa Castro --|g9.4.3.|tSite-specific 
       Exhibition and Reexhibition Strategies: Max Neuhaus's 
       Times Square /|rElena Biserna --|g9.4.4.|tFrom Archival 
       Model to Exhibition Platform? Video Art As a Web Resource 
       and the imai Online Catalogue /|rRenate Buschmann --|g10.
       |tOn Curating New Media Art /|rSarah Cook --|tEpilogue /
       |rJulia Nooroegraaf, Ariane No︠l De Tilly --|tList of 
       contributors --|tIndex. 
506    Access restricted to authorised ANU users only.|5ANU 
520    Artists have always experimented with the potentials film,
       video and digital technology. 'Preserving and Exhibiting 
       Media Art' highlights the challenges these new multimedia 
       works pose to the traditional ways of collecting, 
       preserving and exhibiting art. In addition, it outlines 
       several case studies through the contours of the training 
       and education of professionals in this field. The book 
       offers a historical and theoretical overview and makes an 
       important contribution to the literature on archival 
       theory and practice and is a reference point for anyone 
       concerned with the preservation and presentation of media 
       art. 
546    English. 
588 0  Print version record. 
590    JSTOR|bBooks at JSTOR Open Access 
650  0 Multimedia (Art)|xPreservation. 
650  0 New media art|xPreservation. 
650  0 Computer art|xPreservation. 
650  0 Motion picture film|xPreservation. 
650  0 Art|xExhibition techniques. 
650  7 PERFORMING ARTS|xReference.|2bisacsh 
650  7 ART|xConservation & Preservation.|2bisacsh 
650  7 Film production: technical and background skills.|2bicssc 
650  7 Film, TV and radio.|2bicssc 
650  7 Films, cinema.|2bicssc 
650  7 The arts.|2bicssc 
650  7 Art|xExhibition techniques.|2fast|0(OCoLC)fst00815237 
650  7 Motion picture film|xPreservation.|2fast
       |0(OCoLC)fst01027139 
650 17 Mediakunst.|2gtt|0(NL-LeOCL)11306151X 
650 17 Tentoonstellingen.|2gtt|0(NL-LeOCL)078686938 
650 17 Conservatie.|2gtt|0(NL-LeOCL)078474809 
653  0 Media art 
653  0 Preservation 
700 1  Noordegraaf, Julia,|eeditor. 
700 1  Saba, Cosetta G.,|eeditor. 
700 1  Le Maître, Barbara,|eeditor. 
700 1  Hediger, Vinzenz,|d1969-|eeditor. 
776 08 |iPrint version:|tPreserving and exhibiting media art.
       |dAmsterdam : Amsterdam University Press, [2013]
       |z9789089642912|w(DLC)  2013445091|w(OCoLC)826453259 
830  0 Framing film. 
914    ocn879377176 
994    92|bSTJ