Illusions in Motion: Media Archaeology of the Moving Panorama and Related Spectacles

2014 ◽  
Vol 23 (1) ◽  
pp. 133-135
Author(s):  
Zach Melzer
Keyword(s):  
Media Archaeology

Introduction

2018 ◽  
Author(s):  
James Tweedie
Keyword(s):  
Twentieth Century ◽  
Cultural Background ◽  
Media Archaeology ◽  
The Past ◽  
The Future ◽  
Late Twentieth ◽  
Heritage Industry ◽  
Late Twentieth Century

This chapter introduces the concept of the “archaeomodern” and its connection to the aging of the quintessential modern medium of film. It sketches the historical and cultural background of the archaeomodern turn in the late twentieth century, including the development of an obsession with the past in the heritage industry and the rise of postmodernism. It then discusses two phenomena from the 1980s and 1990s—a mannerist or baroque revival, and the development of media archaeology—that complicate the habitual association between tradition and the past or modernity and the future. The introduction suggests that archaeomodern cinema was characterized by the return to failed or abandoned modern experiments and other relics from the modern past.

American Folk Music as Tactical Media

2017 ◽  
Author(s):  
Henry Adam Svec
Keyword(s):  
Performance Studies ◽  
Folk Music ◽  
Sound Studies ◽  
Media Archaeology ◽  
Folk Revival ◽  
Tactical Media ◽  
Writing Machines

American folk music has long presented a problematic conception of authenticity, but the reality of the folk scene, and its relationship to media, is far more complicated. This book draws on the fields of media archaeology, performance studies, and sound studies to explore the various modes of communication that can be uncovered from the long American folk revival. From Alan Lomax's cybernetic visions to Bob Dylan's noisy writing machines, this book retrieves a subterranean discourse on the concept of media that might help us to reimagine the potential of the networks in which we work, play, and sing.

Zombie Media: Circuit Bending Media Archaeology into an Art Method

Leonardo ◽  
2012 ◽  
Vol 45 (5) ◽  
pp. 424-430 ◽  
Author(s):  
Garnet Hertz ◽  
Jussi Parikka
Keyword(s):  
Electronic Waste ◽  
Media Theory ◽  
Ecological Crisis ◽  
Media Culture ◽  
Artistic Practice ◽  
Planned Obsolescence ◽  
Media Archaeology ◽  
Media Objects ◽  
Do It Yourself ◽  
Media Discourses

This text is an investigation into media culture, temporalities of media objects and planned obsolescence in the midst of ecological crisis and electronic waste. The authors approach the topic under the umbrella of media archaeology and aim to extend this historiographically oriented field of media theory into a methodology for contemporary artistic practice. Hence, media archaeology becomes not only a method for excavation of repressed and forgotten media discourses, but extends itself into an artistic method close to Do-It-Yourself (DIY) culture, circuit bending, hardware hacking and other hacktivist exercises that are closely related to the political economy of information technology. The concept of dead media is discussed as “zombie media”—dead media revitalized, brought back to use, reworked.

scholarly journals TRUSTED MACHINES? MACHINE LEARNING, MORE-THAN-HUMAN SPEED AND DEAD LABOR IN PLATFORM CAPITALISM

2019 ◽  
Vol 2019 ◽  
Author(s):  
Sy Taffel
Keyword(s):  
Machine Learning ◽  
User Interfaces ◽  
High Frequency ◽  
Social Inequalities ◽  
Creative Industries ◽  
Binary Opposition ◽  
Media Archaeology ◽  
For Profit ◽  
Software Studies ◽  
Human Labor

Decision making machines are today ‘trusted’ to perform or assist with a rapidly expanding array of tasks. Indeed, many contemporary industries could not now function without them. Nevertheless, this trust in and reliance upon digital automation is far from unproblematic. This paper combines insights drawn from qualitative research with creative industries professionals, with approaches derived from software studies and media archaeology to critically interrogate three ways that digital automation is currently employed and accompanying questions that relate to trust. Firstly, digital automation is examined as a way of saving time and/or reducing human labor, such as when programmers use automated build tools or graphical user interfaces. Secondly, automation enables new types of behavior by operating at more-than-human speeds, as exemplified by high-frequency trading algorithms. Finally, the mode of digital automation associated with machine learning attempts to both predict and influence human behaviors, as epitomized by personalization algorithms within social media and search engines. While creative machines are increasingly trusted to underpin industries, culture and society, we should at least query the desirability of increasing dependence on these technologies as they are currently employed. These for-profit, corporate-controlled tools performatively reproduce a neoliberal worldview. Discussing misplaced trust in digital automation frequently conjures an imagined binary opposition between humans and machines, however, this reductive fantasy conceals the far more concrete conflict between differing technocultural assemblages composed of humans and machines. Across the examples explored in this talk, what emerges are numerous ways in which creative machines are used to perpetuate social inequalities.  

scholarly journals Media archaeology-based Visual Music

2021 ◽  
pp. 7-30
Author(s):  
Alberto Novello
Keyword(s):  
Frame Rate ◽  
Artistic Practice ◽  
Media Archaeology ◽  
Strong Connection ◽  
Geometric Properties ◽  
Visual Music ◽  
The Aesthetic ◽  
Beam Movement

This article describes the intersection of Media Archaeology and Visual Music in my artistic practice that repurposes obsolete devices to investigate new connections between light and sound. I revive and hack tools from our analogue past: oscilloscopes, early game consoles, and lasers. I am attracted to their aesthetic difference from the ubiquitous digital projections: fluid beam movement, vibrant light, infinite resolution, absence of frame rate, and line-based image. The premise behind all my work is the synthesis of both image and sound from the same signal. This strong connection envelopes the audience in synchronous audiovisual information that reveals underlying geometric properties of sound. In this text I describe the practice and the aesthetic potentials connected to few analog and digital hybridized systems to generate new sonic and visual experiences.

scholarly journals The Hybrid Color Film: Multiplicity of Space, Time, and Matter

2021 ◽  
Vol 9 (17) ◽  
pp. 100-122
Author(s):  
Olivia Kristina Stutz
Keyword(s):  
Space Time ◽  
Media Archaeology ◽  
Color Film

Hybrid color films of the 1920s such as The King of Kings (Cecil B. DeMille, 1927)—that is, films comprising a mix of different historical color processes—are a particularly fruitful resource for the comparison of the silent era’s various color technologies. This article analyzes these cinematic hybridizations and argues that this type of film is much more than the sum of its parts. In embodying a multiplicity of layers of space, time, and color on a literal and metaphorical level, hybrid color films are not only symptomatic of the transformation of the medium in the 1920s but also symbolic of current approaches to film historiography based on media archaeology.

scholarly journals Editorial: The impact of technology on certain historiographic issues

Artnodes ◽  
2019 ◽  
Author(s):  
Ana Rodriguez Granell
Keyword(s):  
International Society ◽  
Digital Humanities ◽  
Media Archaeology ◽  
Great Pleasure ◽  
The Past ◽  
Common Thread ◽  
The One ◽  
Impact Of Technology ◽  
The Impact ◽  
The Way

It gives us great pleasure to present the 23rd issue of the magazine as a heterogeneous collection that brings together selected articles submitted in response to three different calls for contributions. On the one hand, we bring the volume focusing on media archaeology to a close with this second series of texts. The section on Digital Humanities also comprises an interesting series of contributions related to the 3rd Congress of the International Society of Hispanic Digital Humanities. The last section of this issue brings together another set of articles submitted in response to the magazine’s regular call for contributions, including different perspectives on issues that fall within the magazine’s scope of interest. All the sections and research contained here are unavoidably disparate from each other, yet, when taken as a whole, the reader will realise that there is a common thread throughout this issue, focusing on the impact of certain technologies have had on the way we view the past. The historical scope of technologies does not only operate in a single direction, but rather throughout time in its entirety.

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