Present continuous past(s) : media art ; strategies of presentation, mediation and dissemination ; [emerged from a public symposium held in 2004 at the University of the Arts in Bremen

— — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — off legitimate research interests against artists’ justi?ed claims for economic grati?cation? And how could new methods of documentation and dissemination, for example on the Internet, contribute to a more liberal access to the (so-far) closed-circuit system of established formulas for the mediation of multi-media artworks, in order to create a wider frame of reference via new visualization techniques? These questions were debated among other issues at an international symposium, held in the spring of 2004 at the University of Art in Bremen. As intentionally re?ected in the adapted title from Dan Graham’s seminal video-feedback installation »Present Continuous Past(s)«, the conference discussions crystallized around three main aspects, namely the relation of the artists’ intention to the faithful presentation and preservation of multi-media artworks for possible future re-presentations, the speci?c reception conditions that these works require as much in their gallery displays as under the conditions of post-exhibition documentation (particularly in anticipation of future presentations), and ?nally – as implicitly re?ected in all of these aspects – the philosophical dimensions of media art’s historicity. Media art’s ›becoming-of-age‹ has generally caused more concern and has led to more useful strategic initiatives within the museum context than in the academic ?eld of art history. Introduction....Pages 13-21 The Artwork as Temporal Form Giving Access to the Historicity, Context and Discursiveness of Media Art....Pages 22-35 Thirty Years of Media Art by Ulrike Rosenbach - Experience in Mediation and Reproduction....Pages 36-45 »Withdrawal as an Artform« - Between Withdrawal and Presentation - The Body in the Media Arts....Pages 46-61 Montage and Image Environments: Narrative Forms in Contemporary Video Art....Pages 62-73 Media storage. On Documenting and Archiving Media Art....Pages 74-81 Global Icons....Pages 82-95 Before and after video art - Television as a subject and material for art around 1963, and a glance at net art since the 1990s....Pages 96-111 Dan Graham’s Designs for Video Presentations: Art, Commentary and Solution....Pages 112-123 Stan Douglas, »Win, Place or Show«....Pages 124-131 T_Visionarium: the aesthetic transcription of televisual databases....Pages 132-141 www.guiton.de....Pages 142-149 Database and Context Artistic Strategies within a Dynamic Field of Action....Pages 150-161 On the development of netzspannung.org - An Online Archive and Transfer Instrument for Communicating Digital Art and Culture....Pages 162-173 Capturing Unstable Media Arts - A formal model for describing and preserving aspects of electronic media art....Pages 174-189 The Digital Mystique: Video Art, Aura and Access....Pages 190-195 »How to deliver what is asked«....Pages 196-201 Edited By Ursula Frohne, Mona Schieren, Jean-françois Guiton. Includes Papers Presented At A Conference Held In 2004 At The University Of The Arts In Bremen In Collaboration With The International University Bremen. Includes Bibliographical References (p. 212-220).