Sean Cubitt is Professor of Film and Television at Goldsmiths, University of London. He is the author of The Cinema Effect and the coeditor of Relive: Media Art Histories, both published by the MIT Press.
Paul Thomas is Associate Professor in the College of Fine Art at the University of New South Wales and Associate Professor at Curtin University of Technology.
Zhang Ga is a media artist and independent curator. He is the artistic director and curator of the exhibition this book accompanies.
Darren Tofts is Chair of Media and Communications at Swinburne University of Technology, Melbourne.
Ryszard KLUSZCZYNSKI is professor of cultural and media studies at Lodz University, where he is Head of the Electronic Media Department. His publications include: Information Society. Cyberculture. Multimedia Arts (2001) and Film?Video ?Multimedia: Art of the Moving Picture in the Era of Electronics (1999).
Edward A. Shanken is Visiting Associate Professor, DXARTS, University of Washington. He is the editor of Roy Ascott's collected writings, Telematic Embrace: Visionary Theories of Art, Technology and Consciousness and the author of Art and Electronic Media.
Stephen Jones is an Australian video artist and electronic engineer.
Douglas Kahn is Professor at the National Institute for Experimental Arts at the University of New South Wales in Sydney, Australia. He is the author of Noise Water Meat: A History of Sound in the Arts (MIT Press) and Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts and coeditor of Wireless Imagination: Sound, Radio, and the Avant-Garde (MIT Press).
Stelarc is a leading international performance artist.

Leading historians of the media arts define a new materialist media art history, discussing temporality, geography, ephemerality, and the future.

In Relive, leading historians of the media arts grapple with this dilemma: how can we speak of "new media” and at the same time write the histories of these arts? These scholars and practitioners redefine the nature of the field, focusing on the materials of history—the materials through which the past is mediated. Drawing on the tools of media archaeology and the history and philosophy of media, they propose a new materialist media art history.

The contributors consider the idea of history and the artwork's moment in time; the intersection of geography and history in regional practice, illustrated by examples from eastern Europe, Australia, and New Zealand; the contradictory scales of evolution, life cycles, and bodily rhythms in bio art; and the history of the future—how the future has been imagined, planned for, and established as a vector throughout the history of new media arts.

These essays, written from widely diverse critical perspectives, capture a dynamic field at a moment of productive ferment.

Contributors
Susan Ballard, Brogan Bunt, Andrés Burbano, Jon Cates, John Conomos, Martin Constable, Sean Cubitt, Francesca Franco, Darko Fritz, Zhang Ga, Monika Gorska-Olesinska, Ross Harley, Jens Hauser, Stephen Jones, Douglas Kahn, Ryszard W. Kluszczynski, Caroline Seck Langill, Leon Marvell, Rudy Rucker, Edward A. Shanken, Stelarc, Adele Tan, Paul Thomas, Darren Tofts, Joanna Walewska