Over the past few decades, analogue videotapes have been commonly used as an artistic medium, from single-channel video works to complicated installation pieces. However, even though videotapes are now featured in collections all over the world, many conservators, curators, and other collection caretakers are at a loss when first confronted with the complexities of viewing, cataloguing, and preserving analogue videotapes.Compendium of Image Errors in Analogue Video sets out to provide guidelines for the condition assessment and preservation of analogue video. Along with an included DVD, the book illustrates in stills and moving images the twenty-eight most common image errors found on videotapes. But the authors have provided more than just an outline of the problems facing video conservators. They also give background information on the historical and technical aspects of analogue video recording, including a chapter on how artists have purposefully experimented with image distortion and manipulation in their own work. An additional glossary fully explains the technical terms used in the book.

What happens when communication breaks down? Is it the condition for mistakes and errors that is characteristic of digital culture? And if mistakes and errors have a certain power, what stands behind it? To address these questions, this collection assembles a range of cutting-edge philosophical, socio-political, art historical and media theoretical inquiries that address contemporary culture as a terrain of miscommunication. If the period since the industrial revolution can be thought of as marked by the realisation of the possibilities for global communication, in terms of the telephone, telegraph, television, and finally the internet, Miscommunications shows that to think about the contemporary historical moment, a new history and theory of these devices needs to be written, one which illustrates the emergence of the current cultures of miscommunication and the powers of the false. The essays in the book chart the new conditions for discourse in the 21st century and collectively show how studies of communication can be refigured when we focus on the capacity for errors, accidents, mistakes, malfunctions and both intentional and non-intentional miscommunications.

The Explicit Material gathers varied perspectives from the discourses of conservation, curation and humanities disciplines to focus on aspects of heritage transmission and material transitions. The authors observe and explicate the myriad transformations that works of different kinds - manuscripts, archaeological artefacts, video art, installations, performances, film, and built heritage - may undergo: changing contexts, changing matter, changing interpretations and display. Focusing on the vibrant materiality of artworks and artefacts, The Explicit Material puts an emphasis on objects as complex constructs of material relations. By so doing, it announces a shift in sensibilities and understandings of the significance of objects and the materials they are made of, and on the increasingly blurred boundaries between the practices of conservation and curation.

Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such. Grounding its study in interdisciplinary framework of film studies, media studies, and contemporary art criticism, Between Film, Video, and the Digital offers a fresh insight on the post-media conditions of film and video under the pervasive influences of digital technologies, as well as on the crucial roles of media hybridity in the creative processes of giving birth to the emerging forms of the moving image. Incorporating in-depth readings of recent works by more than thirty artists and filmmakers, including Jim Campbell, Bill Viola, Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata, Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Müller, Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas Gordon, Stan Douglas, Candice Breitz, among others, the book is the essential scholarly monograph for understanding how digital technologies simultaneously depend on and differ film previous time-based media, and how this juncture of similarities and differences signals a new regime of the art of the moving image.

"In 1980s India, the Ramsay Brothers and other filmmakers produced a wave of horror movies about soul-sucking witches, knife-wielding psychopaths, and dark-caped vampires. Seeing Things is about the sudden cuts, botched prosthetic effects, continuity errors, and celluloid damage in these movies. Such moments may very well be "failures" of various kinds, but in this book Kartik Nair reads them as clues to the conditions in which the films were once made, censored, and seen, offering a view from below of the world's largest film culture. Combining extensive archival research and original interviews with close readings of landmark films including Purana Mandir, Veerana, and Jaani Dushman, this book tracks the material coordinates of horror cinema's spectral images. In the process, Seeing Things discovers a spectral materiality-one that informs Bombay horror's haunted houses, grotesque bodies, and graphic violence and gives visceral force to our experience of the genre's globally familiar conventions"--

Conservation of Time-based Media Art is the first book to take stock of the current practices and conceptual frameworks that define the emerging field of time-based media conservation, which focuses on contemporary artworks that contain video, audio, film, slides or software components. Written and compiled by a diverse group of time-based media practitioners around the world, including conservators, curators, registrars and technicians among others, this volume offers a comprehensive survey of specialized practices that have developed around the collection, preservation and display of time-based media art. Divided into 23 chapters with contributions from 36 authors and 85 additional voices, the narrative of this book provides both an overview and detailed guidance on critical topics, including the acquisition, examination, documentation and installation of time-based media art; cross-medium and medium-specific treatment approaches and methods; the registration, storage, and management of digital and physical artwork components; collection surveys and project advocacy; lab infrastructures, staffing and the institutional implementation of time-based media conservation. Conservation of Time-based Media Art serves as a critical resource for conservation students and for a diverse professional audience who engage with time-based media art, including conservation practitioners and other collection caretakers, curators, art historians, collectors, gallerists, artists, scholars and academics.

Am 19. Juni 2015 fand die sechste Basler Kunstrechtstagung statt. Der vorliegende Tagungsband enthält die Referate, die wiederum das heterogene Feld des Kunstrechts widerspiegeln. Zur Sprache kamen zuerst rechtliche Fragen im Zusammenhang mit dem Catalogue Raisonné sowie der Restaurierung von Kunstwerken als Problem des Urheberrechts. Hiernach berichtete ein Praktiker über die Restaurierung von raum- und zeitbasierten Kunstwerken. Rein juristisch ging es sodann mit englischsprachigen Vorträgen über "Freeports" und die Transparenz im Kunsthandel weiter. Die abschliessende Paneldiskussion von Marktteilnehmern und -beobachtern zu diesem Thema ist im vorliegenden Band ebenfalls abgedruckt.