Lori Zippay

The Digital Mystique: Video Art, Aura and Access

Symposium "Present Continuous Past(s)"

Lori Zippay [link 01]

Lori Zippay



In this presentation, I'd like to address challenges relating to the distribution of media art from a theoretical and historical framework, but also from the perspective of Electronic Arts Intermix (EAI). Founded in 1971, EAI is a nonprofit resource organization that holds one of the world's major collections of new and historical video art, featuring over 3,000 works from the 1960s to the present. For over thirty years, EAI has provided an alternative model for the distribution and preservation of video and interactive media works by artists. In this presentation, I'd like to identify and perhaps demystify some of the issues relating to contemporary media art distribution, from questions of video editions to interactive Web projects and resources that may point to new paradigms.
The presentation will include a brief selection of online visual materials from the EAI Online Catalogue and the project A Kinetic History: The EAI Archives Online.

KünstlerInnen / AutorInnen

  • Lori Zippay, Electronic Arts Intermix, New York


  • 14. Mai 2004-15. Mai 2004


iMediathek, Hochschule für Künste Bremen


Hochschule für Künste Bremen, Deutschland

Partner / Sponsoren

In Kooperation mit der International University Bremen und dem Filmbüro Bremen

Eingabe des Beitrags

, 21.09.2004


  • Symposium


  • Themen:
    • Medientheorie

Ergänzungen zur Schlagwortliste

  • Videokunst


Inhaltliche Beschreibung

Since its emergence as an art medium and practice in the 1960s, video - and the electronic technologies that constitute its various new forms - has presented a unique set of challenges. The very conditions that proved so theoretically and conceptually stimulating to artists working in the emergent video movement, particularly its reproducibility, have proved problematic in issues of distribution, the art market, and access.
Although video has held a significant position in contemporary art for over four decades, for many years video art functioned as a kind of enfant terrible, an outsider on the fringes of the art world, supported within an alternative network of production, distribution and exhibition. Since the 1990s, however, video art - and related digital or interactive art forms - has become a seemingly ubiquitous presence in the mainstream visual art world.
Electronic media art is often shrouded in a kind of technological or digital mystique, caught between utopian notions of access and the aura of the unique art object. Media art today is faced with two seemingly irreconcilable histories, models, and economies. The reality is that these two models do, and must, co-exist; the public requires educational and cultural access to these works, and the artists require a viable market. It is instructive to note that these dichotomies were present from video art's beginnings. Media art's ability to transcend forms, to move in and around and between contexts is precisely what makes it so powerful and provocative.

  • › Present Continuous Past(s) [link 02]

» http://www.imediathek.org [link 03]

  • › Videodokumentation zum Vortrag [RealMedia] [link 04]
  • › Videodokumentation zum Vortrag [Windows Media] [link 05]