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  • Book
  • Jul 2006

Present Continuous Past(s)

Media Art. Strategies of Presentation, Mediation and Dissemination

  • the first comprehensive survey on the conditions of documentation and dissemination of media art

  • a "hands-on” manual for students, curators and artists concerning questions of reproduction, accessibility and distribution of media art

  • an innovative approach to the documentation of media art

  • 1988 Accesses

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Table of contents (17 chapters)

  1. Front Matter

    Pages 1-11
  2. Introduction

    Pages 13-21
  3. Global Icons

    • Lydia Haustein
    Pages 82-95
  4. Stan Douglas, »Win, Place or Show«

    • Hans D. Christ
    Pages 124-131
  5. T_Visionarium: the aesthetic transcription of televisual databases

    • Dennis Del Favero, Neil Brown, Jeffrey Shaw, Peter Weibel
    Pages 132-141

    • Jean-François Guiton
    Pages 142-149
  7. »How to deliver what is asked«

    • Bart Rutten
    Pages 196-201
  8. Back Matter

    Pages 202-223

About this book

— — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — 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.


  • conservation
  • electronic media installation
  • video art

Editors and Affiliations

  • International University Bremen, Germany

    Ursula Frohne

  • University of the Arts Bremen, Germany

    Mona Schieren, Jean-François Guiton

About the editors

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-FRANÇOIS GUITON, studied at the Academy of Art in Düsseldorf. Numerous professorships; since 1998 teaching assignement at the Hochschule für Künste, 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 Universität 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 École Nationale Supérieure 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-François Guiton. Studied at the Academy of Art in Düsseldorf under Prof. F. Schwegler and U. Wevers. 1985 scholarship student under Prof. F. Schwegler. 1987–94 teaching assignement at the Bergische Universität-Gesamthochschule in Wuppertal. 1994 teaching assignement at the École des Arts Décoratifs, Strasbourg. 1998 teaching assignement at the Hochschule für Künste, Bremen.

Bibliographic Information

  • Book Title: Present Continuous Past(s)

  • Book Subtitle: Media Art. Strategies of Presentation, Mediation and Dissemination

  • Editors: Ursula Frohne, Mona Schieren, Jean-François Guiton

  • DOI:

  • Publisher: Springer Vienna

  • Copyright Information: Springer-Verlag Vienna 2005

  • Edition Number: 1

  • Number of Pages: 223

  • Topics: Fine Art, Media Design