Media archaeology: questioning the new in media arts
DOI:
https://doi.org/10.19132/1807-8583201739.201-214Keywords:
Media theory. Digital media. Archaeology of media. Media arts. Aesthetics.Abstract
“One of the most persistent things that “new” media arts have actually cocooned during their decades of Post WWII development is an appreciation of the obsolete, old and analogue. It is such a paradox, which however makes the whole issue of media arts more interesting: that the new is potentially less interesting than how the old is remediated, recycled, recursively represented. Media art that employs the newest technologies does not necessarily match up to the innovative ways of digging up old ideas, imaginary media solutions and obsolete analog technologies as ways to demonstrate that our culture is not – and should not be – based on a onetrack assumption of linear progress. What if the parallel existence of the other reality alongside the glitzy digital […] is as important in how such old technologies persist in media art, galleries, curatorial programmes and popular culture?" (Extracted from the original paper)Downloads
References
CONCEIVING Ada. Produced by Lynn Hersman. 1997. 1 DVD.
DANIELS, Dieter. Reverse engineering modernism with the last avant-garde. In: DANIELS, Dieter; REISINGER, Gunther (Org.). Net pioneers 1.0: contextualizing early net based art. Berlin: Sternberg Press, 2009, p. 15-62.
ERNST, Wolfgang. Digital memory and the archive. Minneapolis: University of Minnesota, 2013.
GOOGLE. DevArt. [2016]. Disponível em: <https://devart.withgoogle.com>. Acesso em: 31 out. 2016.
GRAU, Oliver. Introduction. In: GRAU, Oliver (Org.). MediaArtHistories. Cambridge, MA: The MIT Press, 2007, p.1-14.
HARRASSER, Karin. Switched-on vulnerability: designability, gender and technology with Laurie Anderson and Wendy Carlos. In: DANIELS, Dieter; SCHMIDT, Barbara U. (Org.). Artists as inventors – inventors as artists. Ostfildern: Hatje Cantz, 2008, p. 196-207.
HERTZ, Garnet. Dead media: research lab. 2009. Disponível em: <http://www.conceptlab.com/deadmedia/>. Acesso em: 31 out. 2016.
HERTZ, Garnet; PARIKKA, Jussi. Zombie media: circuit bending media archeology into an art media. Leonardo, Cambridge, v. 45, n. 5, p. 424-430, 2012.
HUHTAMO, Erkki. Art in the rear-view mirror: the media archaeological tradition in art. In: PAUL, Christine (Org.). A companion to digital art. New Jersey: Wiley-Blackwell, 2015.
HUHTAMO, Erkki. From Kaleidoscomaniac to cybernerd: notes toward an archaeology of the media. Leonardo, Cambridge, 30, n. 3, p. 221-224, 1997.
HUHTAMO, Erkki. Resurrectingthe technological past: an introduction to the archaeology of media art. InterCommunication, [S.l.], n. 14, 1995. Disponível em: <http://www.ntticc.or.jp/pub/ic_mag/ic014/huhtamo/huhtamo_e.html>. Acesso em: 31 out. 2016.
HUHTAMO, Erkki. Twin-Touch-Test-Redux: media archaeological approach to art, interactivity, and tactility. In: GRAU, Oliver (Ed.) MediaArtHistories. Cambridge: The MIT, 2007. p. 71-101.
HUHTAMO, Erkki; PARIKKA, Jussi (Orgs.). Media archaeology: approaches, applications and implications. Berkeley: University of California, 2011.
KLUITENBERG, Eric (Org.). Book of imaginary media. Amsterdam: NAi Publishers, 2006.
MEDIA ART HISTORY. 2017. Disponível em: . Acesso em: 31 out. 2016.
OCULUS. Rift e touch. 2016. Disponível em: <http://www.oculus.com/rift>. Acesso em: 31 out. 2016
PARIKKA, Jussi. Media archaeology: questioning the new in media arts. In: ERTAN, Ekmel (Ed.). Histories of the post digital. Istambul: Aksanat, 2016. p. 133-147. Disponível em: <http://postdigital.amberplatform.org/?p=562>. Acesso em: 31 out. 2016.
PARIKKA, Jussi. What is media archaeology? Cambridge: Polity, 2012.
PLANT, Sadie. Zeroes + ones: digital women and the new technoculture. New York: Doubleday, 1997.
SENGMÜLLER, Gebhard. Four media archaeological art works. In: SOMMERER, C., MIGNONNEAU, L.; KING, D. (Org.). Interface cultures: artistic aspects of interaction. Bielefeld: Transcript Verlag, 2008, p. 273-282.
STRAUVEN, Wanda. Media archaeology: where film history, media art, and new media (can) meet. In: NOORDEGRAAF, Julia et al. (Org.). Preserving and exhibiting media art: challenges and perspectives. Amsterdam: Amsterdam University Press, 2013, p. 59-79.
TOM, the Piper's son. Produced by Ken Jacobs. 1969. 1 DVD.
ZIELINSKI, Siegfried. Audiovision: cinema and television as entr’actes in history. Amsterdam: Amsterdam University, 1999.
ZIELINSKI, Siegfried. The deep time of the media: toward an archaeology of hearing and seeing by technical means. Cambridge: The MIT, 2006.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2017 Intexto
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
The copyright of works published in this journal belong to the authors, and the right of first publication is conceded to the journal. Due to the journal being of open access, the articles are of free use in research, educational and non-commercial activities.
Therefore, the journal uses the License Creative Commons Attribution (CC BY-NC 4.0), which allows sharing of work with acknowledgment of authorship.
Self-archiving (repository policy): authors are allowed to deposit all versions of their work in institutional or thematic repositories without embargo. It is requested, whenever possible, that the full bibliographic reference of the version published in Intexto (including the DOI link) be added to the archived text.
Intexto does not charge any article processing fees (article processing charge).
