It proposes letting go of the belief in the apparent stability of objects that for too long has offered a skewed message by isolating the negative qualities of change. Can we conceive of artworks in terms of their temporal duration – as events, performances and processes? Can artworks, including the recent portion of artistic production as well as traditional artworks, be rethought in terms of time and their intrinsic temporalities? Why and how would it matter for their conservation? This paper offers an opportunity to rethink traditional paradigms of conservation and art theory that regard objects as fixed and static entities. Vale, Captured on Videotape: Camcorders and the Personalization of Television.“The Aesthetics of Change: On the Relative Durations of the Impermanent.” In Authenticity in Transition, edited by Erma Hermens and Frances Robertson, 13-24. Dobrow, The Rerun Ritual: Using VCRs to Re-View. Jordan, A Family Systems Approach to the Use of the VCR in the Home. Heintz, VCR Libraries: Opportunities for Parental Control. Part III:The Relationship of VCRs to Individual Expression, Collective Identity, and Social Patterns.K.E. Straubhaar, Context, Social Class and VCRs: A World Comparison. Harris, VCRs and the Effects of Television: New Diversity or More of the Same? J.D. Baran, VCRs and People's Control of Their Leisure Time. Part II:The Relationship of VCRs to Theoretical Frameworks: Testing, Extending, or Maintaining Existing Media Theories.C.A. Klopfenstein, Audience Measurement in the VCR Environment: An Examination of Ratings Methodologies. Litman, The Economics of the Prerecorded Videocassette Industry.
Secunda, VCRs and Viewer Control Over Programming: An Historical Perspective. Part I:The Relationship of VCRs to Other Media Industries: Competition, Cooperation, and Confusion.E.
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