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| Acknowledgements | |
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| Series Foreward | |
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| Foreword | |
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| Steve Dietz | |
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| Introduction | |
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| What Is New Media Art? | |
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| What Is Curating? | |
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| The Structure of the Book | |
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| Art After New Media�Histories, Theories, and Behaviors | |
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| The Art Formerly Known as “New Media” | |
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| The Hype of the New | |
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| New Media Art�Modernist or Avant- Garde? | |
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| From Postmodernism to a Postmedium Condition | |
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| Art Example: Cornelia Sollfrank, Net Art Generator(s), and Female Extension | |
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| Rethinking Curating | |
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| Exhibition Example: Harwood@Mongrel, Uncomfortable Proximity | |
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| Summary: Curating in a Postmedium Condition? | |
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| Space and Materiality | |
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| Dematerialization�From Conceptual Art to Systems Art | |
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| How New Media Art Is Different | |
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| Art Example: Thomson & Craighead, Light from Tomorrow | |
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| Rethinking Curating | |
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| Exhibition Example: Let�s Entertain and Art Entertainment Network, Walker Art Center | |
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| Summary: Dematerialized or Just Distributed? | |
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| Time | |
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| Time- Based Arts�Video and Performance | |
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| How New Media Art Is Different | |
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| Art Example: Rachel Reupke, Pico Mirador | |
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| Rethinking Curating | |
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| Exhibition Example: Medialounge, the Media Centre | |
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| Summary: Curating in Real Time? | |
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| Participative Systems | |
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| Interaction, Participation, and Collaboration | |
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| How New Media Art Is Different | |
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| Art Example: Harrell Fletcher and Miranda July, Learning to Love You More | |
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| Rethinking Curating | |
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| Exhibition Example: Serious Games, Laing Art Gallery | |
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| Summary: How Participatory Are These Systems? | |
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| Rethinking Curating�Contexts, Practices, and Processes | |
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| Introduction to Rethinking Curating | |
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| Curating in Context�In and Out of the Institution | |
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| Models and Modes�The Practice of Curating | |
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| Summary: Curating Now�Distributed Processes? | |
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| On Interpretation, on Display, on Audience | |
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| Education, Interpretation, and Curating | |
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| Example: Tate Media | |
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| On Display | |
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| Audiences | |
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| Summary: A Useful Confusion? | |
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| Curating in an Art Museum | |
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| Why Would a New Media Artist Want to Exhibit in an Art Museum? | |
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| The Building or the Immaterial Systems? | |
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| Working across Departments | |
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| Example: 010101, San Francisco Museum of Modern Art | |
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| Documentation and Archiving | |
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| On Collections | |
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| Summary: Networking the Museum | |
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| Other Modes of Curating | |
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| Festivals�New, Hybrid, and (Upwardly?) Mobile | |
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| Example: Vuk C� osic�, Documenta Done and Net.art per me | |
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| Arts Agencies and Public Art�Located, Engaged, and Flexible | |
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| Example: New Media Scotland | |
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| Publishing and Broadcast�Distributed, Reproducible, and Networked | |
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| Example: Kate Rich | |
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| The Lab�Experimental, Interdisciplinary, and Research- Led | |
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| Example: V2_, Rotterdam | |
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| Summary: From Production to Distribution and Beyond | |
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| Collaboration in Curating | |
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| Artist- Run�Alternative Spaces and Independent Organizations | |
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| Swapping Roles�Artists as Curators | |
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| Example: NODE.London | |
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| Collaborative Practices�Networks and Audiences | |
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| Summary: Artist- Led or Audience- Led? | |
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| Conclusions | |
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| Conclusions: Histories, Vocabularies, Modes | |
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| A Set of Histories | |
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| Critical Vocabularies�Which Verbs, Which Systems? | |
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| Beyond Novelty�Curatorial Modes | |
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| The Task at Hand�Translation | |
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| References | |
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| Index | |
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| Exhibitions Index | |