Alan Liu
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226451817
- eISBN:
- 9780226452005
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226452005.003.0005
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter begins on the paradigmatic instance of a hybrid print/digital work at the onset of the digital networked era—Agrippa (A Book of the Dead) by Dennis Ashbaugh, Kevin Begos Jr., and William ...
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This chapter begins on the paradigmatic instance of a hybrid print/digital work at the onset of the digital networked era—Agrippa (A Book of the Dead) by Dennis Ashbaugh, Kevin Begos Jr., and William Gibson (1992)—to call for a method of “network archaeology” extending media archaeology. Network archaeology facilitates understanding the sense of history in our postlinear age of digital networks—one filled with buzzing, flitting ephemeral or dynamic artifacts that make a mockery of archiving, yet that urgently requires methods not just of archiving but of open, transparent archiving. Past eras created networked artifacts and systems in their own way. The chapter braids together research on web archiving, scientific workflows (data-analysis workflows facilitating reproducible research), data provenance, and digital humanities prosopography to make the case for remembering networks through new digital archiving methods. Remembering networks, it argues, is foundational for providing our networked age with its appropriate, distinctive sense of history.Less
This chapter begins on the paradigmatic instance of a hybrid print/digital work at the onset of the digital networked era—Agrippa (A Book of the Dead) by Dennis Ashbaugh, Kevin Begos Jr., and William Gibson (1992)—to call for a method of “network archaeology” extending media archaeology. Network archaeology facilitates understanding the sense of history in our postlinear age of digital networks—one filled with buzzing, flitting ephemeral or dynamic artifacts that make a mockery of archiving, yet that urgently requires methods not just of archiving but of open, transparent archiving. Past eras created networked artifacts and systems in their own way. The chapter braids together research on web archiving, scientific workflows (data-analysis workflows facilitating reproducible research), data provenance, and digital humanities prosopography to make the case for remembering networks through new digital archiving methods. Remembering networks, it argues, is foundational for providing our networked age with its appropriate, distinctive sense of history.
Charles Musser
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780520292727
- eISBN:
- 9780520966123
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520292727.003.0006
- Subject:
- Society and Culture, Media Studies
The first section characterizes the structure of feeling of US presidential elections during the long 1890s, making comparisons between that decade and the contemporary moment, noting similarities ...
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The first section characterizes the structure of feeling of US presidential elections during the long 1890s, making comparisons between that decade and the contemporary moment, noting similarities between the campaigns of William McKinley and Barack Obama. It briefly considers new media moments such as radio and television as well as recurrent structures of politicking in the twentieth century. The second section considers the shift from Film Studies to Film and Media Studies and the dialogic relations between the study of early cinema and the emerging field of media archaeology. Finally considers ways in which the illustrated lecture can be analyzed within the framework of Documentary Studies.Less
The first section characterizes the structure of feeling of US presidential elections during the long 1890s, making comparisons between that decade and the contemporary moment, noting similarities between the campaigns of William McKinley and Barack Obama. It briefly considers new media moments such as radio and television as well as recurrent structures of politicking in the twentieth century. The second section considers the shift from Film Studies to Film and Media Studies and the dialogic relations between the study of early cinema and the emerging field of media archaeology. Finally considers ways in which the illustrated lecture can be analyzed within the framework of Documentary Studies.
Alan Liu
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226451817
- eISBN:
- 9780226452005
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226452005.003.0003
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter studies "narratives of new media encounter" (accounts of how individuals and societies react to the introduction of writing, radio, television, the internet, Web 2.0, and so on) to ...
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This chapter studies "narratives of new media encounter" (accounts of how individuals and societies react to the introduction of writing, radio, television, the internet, Web 2.0, and so on) to suggest that major historical changes in the sociocultural order are mirrored in narratives of media history. Often, as in the case of Marshall McLuhan's writings, such narratives follow a plot of progressivist media determinism—of necessary change from old media to new media—even as they also reveal the more ambivalent experience of a "contact zone" between civilizations. At once descriptive and interpretive, tales of new media encounter are a foundational form of media theory—a kind of media archaeology of media theory. They show how societies experience history as communication and information media, and communication and information media as history. They register the experience of history as media history. Finishing on the promising example of a recent collection of essays on the digital humanities, the chapter concludes by asking the critical question: what is an imaginatively enriching, rather than deterministic constraining, narrative of new media encounter?Less
This chapter studies "narratives of new media encounter" (accounts of how individuals and societies react to the introduction of writing, radio, television, the internet, Web 2.0, and so on) to suggest that major historical changes in the sociocultural order are mirrored in narratives of media history. Often, as in the case of Marshall McLuhan's writings, such narratives follow a plot of progressivist media determinism—of necessary change from old media to new media—even as they also reveal the more ambivalent experience of a "contact zone" between civilizations. At once descriptive and interpretive, tales of new media encounter are a foundational form of media theory—a kind of media archaeology of media theory. They show how societies experience history as communication and information media, and communication and information media as history. They register the experience of history as media history. Finishing on the promising example of a recent collection of essays on the digital humanities, the chapter concludes by asking the critical question: what is an imaginatively enriching, rather than deterministic constraining, narrative of new media encounter?
Wolfgang Ernst
Jussi Parikka (ed.)
- Published in print:
- 2012
- Published Online:
- August 2015
- ISBN:
- 9780816677665
- eISBN:
- 9781452948065
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816677665.001.0001
- Subject:
- Society and Culture, Media Studies
In Ernst’s media theory, archaeology becomes archivological analysis that refuses to stay on the interface level. Instead, it reveals the technological conditions of our contemporary techniques of ...
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In Ernst’s media theory, archaeology becomes archivological analysis that refuses to stay on the interface level. Instead, it reveals the technological conditions of our contemporary techniques of memory and time. The archivological approach focuses on the infrastructure of media historical knowledge. With an extended concept of the archive, a media archaeological and archivological approach to the past means that media can not be made into “historical” objects of research only. Different media systems, from library catalogues to micro-filming, have influenced the content as well as the understanding of the historical remains of the archive itself. Alphabetic writing which has dominated the archive for centuries has dramatically been challenged by signal recording (photography, the phonograph, cinematography) and puzzled the archivists at the beginning of the age of media reproduction. Now, in the digital age, we are faced with further challenges concerning cultural memory, remembering and forgetting. Time is not registered only through historical writing but also through the microtemporality of the machines themselves. Instead of narrative and historical accounts of media history, Archives, Media and Cultural Memory that we need a more medium-specific account of the interaction of past and current media cultures. Media studies is extended into an analysis of their scientific and technological roots, while combining such specificity with exciting insights into contemporary philosophy and media theory.Less
In Ernst’s media theory, archaeology becomes archivological analysis that refuses to stay on the interface level. Instead, it reveals the technological conditions of our contemporary techniques of memory and time. The archivological approach focuses on the infrastructure of media historical knowledge. With an extended concept of the archive, a media archaeological and archivological approach to the past means that media can not be made into “historical” objects of research only. Different media systems, from library catalogues to micro-filming, have influenced the content as well as the understanding of the historical remains of the archive itself. Alphabetic writing which has dominated the archive for centuries has dramatically been challenged by signal recording (photography, the phonograph, cinematography) and puzzled the archivists at the beginning of the age of media reproduction. Now, in the digital age, we are faced with further challenges concerning cultural memory, remembering and forgetting. Time is not registered only through historical writing but also through the microtemporality of the machines themselves. Instead of narrative and historical accounts of media history, Archives, Media and Cultural Memory that we need a more medium-specific account of the interaction of past and current media cultures. Media studies is extended into an analysis of their scientific and technological roots, while combining such specificity with exciting insights into contemporary philosophy and media theory.
Wolfgang Ernst
- Published in print:
- 2012
- Published Online:
- August 2015
- ISBN:
- 9780816677665
- eISBN:
- 9781452948065
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816677665.003.0001
- Subject:
- Society and Culture, Media Studies
An introduction to WE’s media theory in relation to German media theory, Kittler and the wider Digital Humanities debates
An introduction to WE’s media theory in relation to German media theory, Kittler and the wider Digital Humanities debates
Wolfgang Ernst
- Published in print:
- 2012
- Published Online:
- August 2015
- ISBN:
- 9780816677665
- eISBN:
- 9781452948065
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816677665.003.0004
- Subject:
- Society and Culture, Media Studies
Ernst introduces the idea of how the machine itself register time even before the intervention of the human observer
Ernst introduces the idea of how the machine itself register time even before the intervention of the human observer
Alan Liu
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226451817
- eISBN:
- 9780226452005
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226452005.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
Friending the Past asks if today's society, increasingly captivated by up-to-the-minute information media, can have a sense of history. What is the relation between past societies whose media forms ...
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Friending the Past asks if today's society, increasingly captivated by up-to-the-minute information media, can have a sense of history. What is the relation between past societies whose media forms fostered a communal or self-aware sense of history—for example, storytelling in prehistorical oral societies, or the great print works of historicism in the nineteenth century—and today's "instant" networked information society? How did the sense of history once balance between the feeling for the present and for the absent, the temporal and the social, the individual and the collective, and the static and the dynamic? And how do digital networks now change the balance? Blending the approaches of intellectual history, media studies, and digital humanities, the book proposes novel ways of thinking about the evolving sense of history. Topics include the relation between high-print historicism and social networking; narratives of "new media encounters" between societies; graphically visualized and conceptualized understandings of history; and "network archaeology" as the variant of media archaeology needed to grasp the networked texture of our contemporary feeling for history. At its close, the book asks the question: is there a sense of history in the digital, networked age? The book concludes with an example of what a digitally networked sense of history can be by examining (in a manner poised between "close reading" and "distant reading") the code of one of today's JavaScript "timelines" and comparing it to the experience of temporality encoded in William Wordsworth's poetry during the era of romanticism.Less
Friending the Past asks if today's society, increasingly captivated by up-to-the-minute information media, can have a sense of history. What is the relation between past societies whose media forms fostered a communal or self-aware sense of history—for example, storytelling in prehistorical oral societies, or the great print works of historicism in the nineteenth century—and today's "instant" networked information society? How did the sense of history once balance between the feeling for the present and for the absent, the temporal and the social, the individual and the collective, and the static and the dynamic? And how do digital networks now change the balance? Blending the approaches of intellectual history, media studies, and digital humanities, the book proposes novel ways of thinking about the evolving sense of history. Topics include the relation between high-print historicism and social networking; narratives of "new media encounters" between societies; graphically visualized and conceptualized understandings of history; and "network archaeology" as the variant of media archaeology needed to grasp the networked texture of our contemporary feeling for history. At its close, the book asks the question: is there a sense of history in the digital, networked age? The book concludes with an example of what a digitally networked sense of history can be by examining (in a manner poised between "close reading" and "distant reading") the code of one of today's JavaScript "timelines" and comparing it to the experience of temporality encoded in William Wordsworth's poetry during the era of romanticism.
Garrett Stewart
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9780226656564
- eISBN:
- 9780226656878
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226656878.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
Recent emphasis on digital imaging in screen narrative as “post-cinematic” tends to misdirect attention. The real breakpoint comes with the “post-filmic” image: a shift in how motion pictures move ...
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Recent emphasis on digital imaging in screen narrative as “post-cinematic” tends to misdirect attention. The real breakpoint comes with the “post-filmic” image: a shift in how motion pictures move their picture elements (now, etymologically, pix-els). This shift in material substrate, with the rearview mirror it provides on film history, offers a marked point of vantage, and of fresh critical leverage, on the media archaeology of screen operation in the move from electrical to electronic process. Each operative medium—originally photochemical, now digital—discloses its own unique, and sometimes overtly showcased, impact on narrative sequence. So-called apparatus theory in the critique of classic Hollywood cinema, with its frequent psychoanalytic emphasis on the passive and gendered gaze, has lost its grip on academic discussion. But only some renewed mode of “apparatus reading” (as proposed here in two senses) can register certain manifest technical facets of the serial image so as to read, with them, the optical ironies and technological reflexes of the motivated—and motorized—screen view. Guided by accounts of projection’s illusory special effect(s) from Jean Epstein through Stanley Cavell and Christian Metz to New Media theory, the aspects of cinemachination called out in this essay range from the mirror effects noted by Weimer film commentary through the optical slapstick of American silent film to the latest pixel-busted image plane of the CGI blockbuster—with discussion always on alert for moments that, in openly channeling the possibilities of their medium, route it back through the coils of narrative inference.Less
Recent emphasis on digital imaging in screen narrative as “post-cinematic” tends to misdirect attention. The real breakpoint comes with the “post-filmic” image: a shift in how motion pictures move their picture elements (now, etymologically, pix-els). This shift in material substrate, with the rearview mirror it provides on film history, offers a marked point of vantage, and of fresh critical leverage, on the media archaeology of screen operation in the move from electrical to electronic process. Each operative medium—originally photochemical, now digital—discloses its own unique, and sometimes overtly showcased, impact on narrative sequence. So-called apparatus theory in the critique of classic Hollywood cinema, with its frequent psychoanalytic emphasis on the passive and gendered gaze, has lost its grip on academic discussion. But only some renewed mode of “apparatus reading” (as proposed here in two senses) can register certain manifest technical facets of the serial image so as to read, with them, the optical ironies and technological reflexes of the motivated—and motorized—screen view. Guided by accounts of projection’s illusory special effect(s) from Jean Epstein through Stanley Cavell and Christian Metz to New Media theory, the aspects of cinemachination called out in this essay range from the mirror effects noted by Weimer film commentary through the optical slapstick of American silent film to the latest pixel-busted image plane of the CGI blockbuster—with discussion always on alert for moments that, in openly channeling the possibilities of their medium, route it back through the coils of narrative inference.
Gabriella Giannachi
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780262035293
- eISBN:
- 9780262335416
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262035293.003.0002
- Subject:
- Society and Culture, Media Studies
This Chapter shows how archaeology offers a set of translating and mediating practices that help us to build an understanding of the apparatus of the archive as an amalgam of materials that may have ...
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This Chapter shows how archaeology offers a set of translating and mediating practices that help us to build an understanding of the apparatus of the archive as an amalgam of materials that may have been produced at different points in time. To unearth the archive as a site, the chapter introduces an archaeological toolkit including elements such as survey; excavation; media archaeology and remediation. The chapter also shows how the archive operates as strata. In particular, the chapter focuses on the capacity of the archive to facilitate the production and transmission of our presence, our present, and our identity. By analyzing Lynn Hershman Leeson’s !R.A.W. project archaeologically, the chapter shows the inter-relatedness of materials and the media used to frame them, unpacking how archives ought to be read contextually as inter-archives.Less
This Chapter shows how archaeology offers a set of translating and mediating practices that help us to build an understanding of the apparatus of the archive as an amalgam of materials that may have been produced at different points in time. To unearth the archive as a site, the chapter introduces an archaeological toolkit including elements such as survey; excavation; media archaeology and remediation. The chapter also shows how the archive operates as strata. In particular, the chapter focuses on the capacity of the archive to facilitate the production and transmission of our presence, our present, and our identity. By analyzing Lynn Hershman Leeson’s !R.A.W. project archaeologically, the chapter shows the inter-relatedness of materials and the media used to frame them, unpacking how archives ought to be read contextually as inter-archives.
Ulrich Meurer
- Published in print:
- 2020
- Published Online:
- June 2020
- ISBN:
- 9780198846024
- eISBN:
- 9780191881251
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198846024.003.0008
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval, History of Art: pre-history, BCE to 500CE, ancient and classical, Byzantine
By ‘unearthing’ artefacts from folded layers of time, media archaeology undermines linear historical discourse: in this regard, this chapter addresses an exemplary art-based project on the origins of ...
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By ‘unearthing’ artefacts from folded layers of time, media archaeology undermines linear historical discourse: in this regard, this chapter addresses an exemplary art-based project on the origins of cinema that takes the epistemological metaphor of ‘excavation’ at its word. In 2011, the Canadian artist Henry Jesionka discovers several ancient bronze and glass objects on a Croatian beach, dates the pieces to the first century CE, and identifies them as components of an intricate Graeco-Roman mechanism for the projection of moving images. This rewriting of media history not only illustrates how traits of materiality and contingency interfere with teleological history; it also reflects on industrial capitalism’s paradox claims of ‘reason’ and the ideological presuppositions of progress: Cornelius Castoriadis’s notion of a merely simulated Rationality of Capitalism (1997) suggests that traditional narratives of technological invention are invariably organized around a clandestine and insufficiently repressed nucleus of the unforeseen, unpredictable, and irrational. By admitting to a similar element of chance or lost control, Jesionka’s Ancient Cinema project and new founding myth of cinema comment on the logic of media archaeology as an expression of late capitalism’s waning belief in its own rationale.Less
By ‘unearthing’ artefacts from folded layers of time, media archaeology undermines linear historical discourse: in this regard, this chapter addresses an exemplary art-based project on the origins of cinema that takes the epistemological metaphor of ‘excavation’ at its word. In 2011, the Canadian artist Henry Jesionka discovers several ancient bronze and glass objects on a Croatian beach, dates the pieces to the first century CE, and identifies them as components of an intricate Graeco-Roman mechanism for the projection of moving images. This rewriting of media history not only illustrates how traits of materiality and contingency interfere with teleological history; it also reflects on industrial capitalism’s paradox claims of ‘reason’ and the ideological presuppositions of progress: Cornelius Castoriadis’s notion of a merely simulated Rationality of Capitalism (1997) suggests that traditional narratives of technological invention are invariably organized around a clandestine and insufficiently repressed nucleus of the unforeseen, unpredictable, and irrational. By admitting to a similar element of chance or lost control, Jesionka’s Ancient Cinema project and new founding myth of cinema comment on the logic of media archaeology as an expression of late capitalism’s waning belief in its own rationale.
Lori Emerson
- Published in print:
- 2014
- Published Online:
- August 2015
- ISBN:
- 9780816691258
- eISBN:
- 9781452949482
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816691258.001.0001
- Subject:
- Literature, Criticism/Theory
Reading Writing Interfaces: From the Digital to the Bookbound probes how interfaces have acted as a defining threshold between reader/writer and writing itself across several key techno-literary ...
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Reading Writing Interfaces: From the Digital to the Bookbound probes how interfaces have acted as a defining threshold between reader/writer and writing itself across several key techno-literary contexts. My book describes, largely through original archival research, ruptures in present and past media environments that expose how certain literary engagements with screen- and print-based technologies transform reading/writing practices. My book, then, is a crucial contribution to the fields of media studies/digital humanities and poetry/poetics in its development of a media poetics which frames literary production as ineluctably involved in a critical engagement with the limits and possibilities of writing media. Throughout, I demonstrate how a certain thread of experimental poetry has always been engaged with questioning the media by which it is made and through which it is consumed. At each point in this non-linear history, I describe how this lineage of poetry undermines the prevailing philosophies of particular media ecology and so reveals to us, in our present moment, the creative limits and possibilities built into our contemporary technologies. By the time I return once again to the present moment in the post-script via the foregoing four techno-literary ruptures, I have made visible a longstanding conflict between those who would deny us access to fundamental tools of creative production and those who work to undermine these foreclosures on creativity. In many ways, then, my book reveals the strong political engagement driving a tradition of experimental poetry and argues for poetry’s importance in the digital age.Less
Reading Writing Interfaces: From the Digital to the Bookbound probes how interfaces have acted as a defining threshold between reader/writer and writing itself across several key techno-literary contexts. My book describes, largely through original archival research, ruptures in present and past media environments that expose how certain literary engagements with screen- and print-based technologies transform reading/writing practices. My book, then, is a crucial contribution to the fields of media studies/digital humanities and poetry/poetics in its development of a media poetics which frames literary production as ineluctably involved in a critical engagement with the limits and possibilities of writing media. Throughout, I demonstrate how a certain thread of experimental poetry has always been engaged with questioning the media by which it is made and through which it is consumed. At each point in this non-linear history, I describe how this lineage of poetry undermines the prevailing philosophies of particular media ecology and so reveals to us, in our present moment, the creative limits and possibilities built into our contemporary technologies. By the time I return once again to the present moment in the post-script via the foregoing four techno-literary ruptures, I have made visible a longstanding conflict between those who would deny us access to fundamental tools of creative production and those who work to undermine these foreclosures on creativity. In many ways, then, my book reveals the strong political engagement driving a tradition of experimental poetry and argues for poetry’s importance in the digital age.
Wolfgang Ernst
- Published in print:
- 2012
- Published Online:
- August 2015
- ISBN:
- 9780816677665
- eISBN:
- 9781452948065
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816677665.003.0008
- Subject:
- Society and Culture, Media Studies
Chapter 6: elaborates the media philosophy of archives by arguing that the spatial and metaphorical set of interface concepts we have are insufficient to understand what the archive is in digital ...
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Chapter 6: elaborates the media philosophy of archives by arguing that the spatial and metaphorical set of interface concepts we have are insufficient to understand what the archive is in digital cultureLess
Chapter 6: elaborates the media philosophy of archives by arguing that the spatial and metaphorical set of interface concepts we have are insufficient to understand what the archive is in digital culture
Gary Hall
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780262034401
- eISBN:
- 9780262332217
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262034401.003.0004
- Subject:
- Philosophy, General
What forms might critical theory take when the focus is not only on what a theorist writes, but also on the theory he or she acts out and performs? Chapter 4 addresses this question by means of a ...
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What forms might critical theory take when the focus is not only on what a theorist writes, but also on the theory he or she acts out and performs? Chapter 4 addresses this question by means of a rigorous “piratical” reading of RosiBraidotti’s The Posthuman. Since the focus of this chapter is on how theorists act, it also explains the philosophy Hall is endeavoring to perform in some of the projects and actions he is involved with. Chapter 4 looks at two such projects in particular. The first is Open Humanities Press (OHP), a non-profit open access publisher Hall co-founded in 2006. The project covered in most detail however is a series of books Hall co-edits as part of OHP called Living Books About Life.Less
What forms might critical theory take when the focus is not only on what a theorist writes, but also on the theory he or she acts out and performs? Chapter 4 addresses this question by means of a rigorous “piratical” reading of RosiBraidotti’s The Posthuman. Since the focus of this chapter is on how theorists act, it also explains the philosophy Hall is endeavoring to perform in some of the projects and actions he is involved with. Chapter 4 looks at two such projects in particular. The first is Open Humanities Press (OHP), a non-profit open access publisher Hall co-founded in 2006. The project covered in most detail however is a series of books Hall co-edits as part of OHP called Living Books About Life.
Wolfgang Ernst
- Published in print:
- 2012
- Published Online:
- August 2015
- ISBN:
- 9780816677665
- eISBN:
- 9781452948065
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816677665.003.0002
- Subject:
- Society and Culture, Media Studies
specifically written for this Anglo-American edition, Ernst gives his own introduction to media archaeology and archivology
specifically written for this Anglo-American edition, Ernst gives his own introduction to media archaeology and archivology
Wolfgang Ernst
- Published in print:
- 2012
- Published Online:
- August 2015
- ISBN:
- 9780816677665
- eISBN:
- 9781452948065
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816677665.003.0003
- Subject:
- Society and Culture, Media Studies
Ernst contextualises his media archaeological method in relation to the art/cultural historical theories of Stephen Bann
Ernst contextualises his media archaeological method in relation to the art/cultural historical theories of Stephen Bann
Bill Seaman
- Published in print:
- 2020
- Published Online:
- March 2020
- ISBN:
- 9780190498900
- eISBN:
- 9780190498924
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190498900.003.0015
- Subject:
- Classical Studies, Asian and Middle Eastern History: BCE to 500CE
The contemporary city is quickly changing in line with the quixotic nature of today’s array of computational media. As a result, we need to begin to create new technological methodologies to aid in ...
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The contemporary city is quickly changing in line with the quixotic nature of today’s array of computational media. As a result, we need to begin to create new technological methodologies to aid in the study of the cityscape over time. This chapter presents some interesting ideas, given that the physical nature of buildings and material infrastructures change at a different rate from that of contemporary digital media. In terms of the cityscape, the digital media and their presence in differing forms are evermore ubiquitous. The author’s approach is to combine two areas of study—cyber-archaeology and media archaeology—in the service of future research. The notion is to create intelligent new systems for the archiving and perusal of multimodal media. He proposes new computationally intelligent approaches to generative virtual environments and relational databases. Also, he points to the nature of context and the limits of current computing in terms of discerning that context. And he asks: As humans we can quickly size up situations, shifting conceptual contexts without a problem; can we build new polysensing systems to help augment the machinic understanding of context and define a vast compendium of relationalities, as well as develop new multimodal search methodologies? This would help us create contemplative media contexts that lend insights into our ongoing learning in terms of research and cultural understanding of the present, enfolding multiple chosen perspectives.Less
The contemporary city is quickly changing in line with the quixotic nature of today’s array of computational media. As a result, we need to begin to create new technological methodologies to aid in the study of the cityscape over time. This chapter presents some interesting ideas, given that the physical nature of buildings and material infrastructures change at a different rate from that of contemporary digital media. In terms of the cityscape, the digital media and their presence in differing forms are evermore ubiquitous. The author’s approach is to combine two areas of study—cyber-archaeology and media archaeology—in the service of future research. The notion is to create intelligent new systems for the archiving and perusal of multimodal media. He proposes new computationally intelligent approaches to generative virtual environments and relational databases. Also, he points to the nature of context and the limits of current computing in terms of discerning that context. And he asks: As humans we can quickly size up situations, shifting conceptual contexts without a problem; can we build new polysensing systems to help augment the machinic understanding of context and define a vast compendium of relationalities, as well as develop new multimodal search methodologies? This would help us create contemplative media contexts that lend insights into our ongoing learning in terms of research and cultural understanding of the present, enfolding multiple chosen perspectives.
Stephen Monteiro
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9781474403375
- eISBN:
- 9781474421881
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474403375.003.0001
- Subject:
- Film, Television and Radio, Film
Art historical interpretations of the production and exhibition of moving-image works in art spaces often rest on a reductive oppositional pairing of the “white cube” of the museum or gallery space ...
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Art historical interpretations of the production and exhibition of moving-image works in art spaces often rest on a reductive oppositional pairing of the “white cube” of the museum or gallery space and the “black box” of the movie theatre. This introduction challenges that approach, arguing that new methods and research drawn from media and cultural studies—rather than art history—are critical to contextualizing the origins and significance of such art. It demonstrates how these works and the terms of their display may diverge from the standards of the move theatre while including aspects of other forms of popular film and video culture, from the drive-in to the peep show. It concludes by laying the groundwork for a more inclusive and historically rooted approach to the relationship between art and popular media, one better suited to identifying and measuring the artistic influence of an extraordinary range of popular media forms and practices.Less
Art historical interpretations of the production and exhibition of moving-image works in art spaces often rest on a reductive oppositional pairing of the “white cube” of the museum or gallery space and the “black box” of the movie theatre. This introduction challenges that approach, arguing that new methods and research drawn from media and cultural studies—rather than art history—are critical to contextualizing the origins and significance of such art. It demonstrates how these works and the terms of their display may diverge from the standards of the move theatre while including aspects of other forms of popular film and video culture, from the drive-in to the peep show. It concludes by laying the groundwork for a more inclusive and historically rooted approach to the relationship between art and popular media, one better suited to identifying and measuring the artistic influence of an extraordinary range of popular media forms and practices.
Lori Emerson
- Published in print:
- 2014
- Published Online:
- August 2015
- ISBN:
- 9780816691258
- eISBN:
- 9781452949482
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816691258.003.0003
- Subject:
- Literature, Criticism/Theory
Chapter three focuses on poetic experiments with the strictures of the typewriter in the 1960s and 1970s.
Chapter three focuses on poetic experiments with the strictures of the typewriter in the 1960s and 1970s.
Wolfgang Ernst
- Published in print:
- 2012
- Published Online:
- May 2013
- ISBN:
- 9780823249800
- eISBN:
- 9780823252480
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823249800.003.0003
- Subject:
- Religion, Religion and Society
This chapter presents a media-archaeological approach to the study of religion and technology in order to reformulate religious practices in technological terms. The chapter focuses on the historical ...
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This chapter presents a media-archaeological approach to the study of religion and technology in order to reformulate religious practices in technological terms. The chapter focuses on the historical development of mechanical clocks, from their origins in the monasteries of mediaeval Christian Europe to the oscillating time-keeping mechanisms that lie at the basis of modern computers. The author argues that, despite the original religious and cultural goals that fostered the development of mechanical time-keeping, the history of the oscillating clock reveals a non-cultural, techno-poetical element at work, as demonstrated in the chapter's analysis of one of the clock's key mechanisms: the anchor escapement. Once set in motion, the anchor mechanism of the oscillating clock operated according to its own its technical logic, resulting in the generation of time-based media processes that challenge our very conceptions of historical narrative and the place of religion therein.Less
This chapter presents a media-archaeological approach to the study of religion and technology in order to reformulate religious practices in technological terms. The chapter focuses on the historical development of mechanical clocks, from their origins in the monasteries of mediaeval Christian Europe to the oscillating time-keeping mechanisms that lie at the basis of modern computers. The author argues that, despite the original religious and cultural goals that fostered the development of mechanical time-keeping, the history of the oscillating clock reveals a non-cultural, techno-poetical element at work, as demonstrated in the chapter's analysis of one of the clock's key mechanisms: the anchor escapement. Once set in motion, the anchor mechanism of the oscillating clock operated according to its own its technical logic, resulting in the generation of time-based media processes that challenge our very conceptions of historical narrative and the place of religion therein.
Jessica Pressman
- Published in print:
- 2014
- Published Online:
- April 2014
- ISBN:
- 9780199937080
- eISBN:
- 9780199352623
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199937080.001.0001
- Subject:
- Literature, 20th-century and Contemporary Literature
This book presents an alternate genealogy for born-digital, avant-garde literature by connecting it to high literary modernism. “Digital modernism” refers to the strategy of adapting the poetics of ...
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This book presents an alternate genealogy for born-digital, avant-garde literature by connecting it to high literary modernism. “Digital modernism” refers to the strategy of adapting the poetics of literary modernism into new media literature, and this pursuit is shared among a diverse group of digital works. Examining digital modernism provides an opportunity to consider the modernist roots of digital literature and to recognize how modernism is centrally about media. Reading between these historical periods and their medial formats also demands the renovation of close reading in order to approach born-digital literature and illuminates how close reading remains vital to digital culture. By showing how media studies has its origins in literary studies, this book suggests that media studies should be considered part of literary studies and literary criticism.Less
This book presents an alternate genealogy for born-digital, avant-garde literature by connecting it to high literary modernism. “Digital modernism” refers to the strategy of adapting the poetics of literary modernism into new media literature, and this pursuit is shared among a diverse group of digital works. Examining digital modernism provides an opportunity to consider the modernist roots of digital literature and to recognize how modernism is centrally about media. Reading between these historical periods and their medial formats also demands the renovation of close reading in order to approach born-digital literature and illuminates how close reading remains vital to digital culture. By showing how media studies has its origins in literary studies, this book suggests that media studies should be considered part of literary studies and literary criticism.
