Introduction: an archaeology of Media Archaeology by Erkki Huhtamo and Jussi Parikka
Page 1: "Studies of new media often share a disregard for the past."
Dismantling the Fairy Engine: media archaeology as Topos study by Erkki Huhtamo
Page 28, "The Little People is a topos - a stereotypical formula evokes over and over again in different guises and for varying purposes. " (the idea that little people are inside the machine).
page 31, "The continued usefulness of the notion of the topos for media archaeology must rely on the assumption that its origins and manifestations are both created and conditioned by cultural forces. "
Page 33, Curtius: "Specialization without universalism is blind. Universalism without specialization is inane".
Page 36-37, cyborgs discussed.
On the Archaeology of Imaginary Media by Erik Kluitenberg
Page 49, "Book of imaginary media" from 2006
Page 55, Peter Blegvad play "On Imaginary Media" distinguishes three general types of media: media remembered, media observed, and media imagined.
Page 56, Siegfried Zielinski on three categories of imaginary media: untimely, conceptual, and impossible.
Page 58, strange prayers described as media.
- EVP: Electronic Voice Phenomena
Page 59, Edison and EVP
- Zoe Beloff on spirit photography. Find Dr. Charles Richet who documented seances with multiple stereoscopic cameras.
Page 60, talking with the dead
Page 61, universal translator from Star Trek.
- Sex substitution through "machines celibataires" or "bachelor machines". (Karka, Duchamp, Barbarella, Metropolis)
Page 62, being in two places at once.
On the Origins of the Origins of the Influencing Machine by Jeffrey Sconce
Page 71, "technical delusion - the electronic manifestation of 'thought insertion' and/or 'thought broadcasting', providing subjects with plausible technical explanations as to how their thoughts might have become implanted".
- 1919 paper "On the origins of the influencing machine in schizophrenia"
Page 73-75, early paranoid case study.
Page 81, "Schizophrenics ... identified by inability to process metaphors".
Page 83-84, Radio Mania, radio and thought transferal/surveillance.
Page 85-87 (especially 87) Freud belief in telepathy
Page 89-90, biting critique of blogging.
Freud and the Technical Media: the enduring magic of the wunderblock by Thomas Elsaesser
Much on "mystic writing pad" - the peel off pad, Freud's memory metaphor.
Page 96, archaeology of Freud: "What were the problems Freud thought that his new science of psychoanalysis might help to answer?"
Page 100, Freud as media theorist "body/mind are storage and recording medium"
Page 108, "Time, in Freud, is the protective-compensatory effect of a subjective experience of intermittence of rupture, a failure and loss of signal even, occurring in the transition between recording and storage."
Page 112 Dracula (1897) as commentary on media origins.
The "Baby Talkie," Domestic Media, and the Japanese Modern by Machiko Kusahara
Page 125, "The zograscope is seen in use in a famous woodblock print by Harunobu, Tamagawa inkoya"
Page 130, Kinora - mini-mutoscope for home.
"In Japan there are patent applications from 1932 and 1933 introducing panorama toys for which gramophones are used to automatically scroll the pictures".
Page 137, [Suiho] Tagawa was a former Dada artist, best known for his comic story Norakura (see animation in Pervasive Animation book).
The Observer's Dilemma: to touch or not to touch by Wanda Strauven
Page 152, Thaumatrope, zoetrope etc, interactivity through use of hands.
Page 152-153, Reynaud's praxinoscope theatre (1892) no longer a toy since viewer is not manipulating it.
Page 154, choreutoscope? "The eye is dependent on the hand" Piano/video game correlation.
Page 157, "Rube" film marks evidence and decline of audience /device interaction in early cinema, examples on page 158.
The Game Player's Duty: the user as the gestalt of the ports by Claus Pias
Page 169, Early computer "wirlwind" treats user as a device.
Computer decision making all compared to duty. If you do not follow rules exactly, you lose, just as Homberg is executed for breach of protocol in a war even though he won (page 167).
Page 180 "The discourse elements of the computer game are not called 'killing people' or 'catching gold nuggets' but timeliness, rhythm, or control. And these are continuously tested in a symbolic identity of the player.".
The Enduring Ephemeral, or The Future is a Memory by Wendy Hui Kyong Chun
Page 184, "a nonsimultaneity of the new, which I argue sustains new media as such"
Page 187, "one must act as though future predictions were fact in order to prevent the predicted future from taking place"
Page 196, "[Mercury delay] tubes memory and RAM explained/compared.
Page 198 "The internet wayback machine (IWM) is necessary because the internet, which is in so many ways about memory, has no memory!"
Page 199, "What makes a blog uninteresting is not necessarily its content, which often reads like a laundry list of things done or to do, but rather its immobility. The ever-updating, inhumanly clocked time in which our machines and memories are embedded and constantly refreshed makes its material stale. "
Erased Dots and Rotten Dashes, or How to Wire Your Head for a Preservation by Paul DeMarinis
Page 212, Analog and digital ... are two concepts with a common origin, although they have been cast as a contra-distinctive pair"
Page 220, Philadelphia's panopticon prison pipes don't go cell to cell so tapped signalling won't happen.
Page 227-228, artist Yasunaotone might relate to Eric Hill.
Page 230, with Sound Designer II software you can draw a waveform using a tablet.
Media Archaeography, method and machine versus history and narrative of media by Wolfgang Ernst
Page 245, tape recorder compared to Ulysses - he had to be tied up to resist temptation of sound while tape can pay equal attention to beautiful and other voices but be unmoved.
Page 247, wire recordings from 1950s available at Milman Parry Collection or Oral Literature at Harvard (web site)
Page 150, "be aware ... that ... human voices or images of the past replayed from media recordings we are not communicating with the dead; rather, we are dealing with the past as a form of delayed presence, preserved in a technological memory."
Page 253, "Since technologies changed from tools to machines, these techniques have comprised not only texts and images but numbers as well. Media archaeology therefore is close to mathematics".
Mapping Noise, techniques and tactics of irregularities, interception, and disturbance by Jussi Parikka
Page 256, "technical media are posthuman media in the sense of addressing a whole other sensorium than that of the human being".
Page 260, 50% redundancy in English "helps combat noise".
Page 268, "As Carolyn Marvin notes, poems that served as light filler in electrical journals often identified woman as technological objects under male control. Yet the huge number of women working as interconnectors in telegraph offices, as secretaries with typing machines, and later as telephone operators were uncertain elements, probably because of their imagine cultural status as unreliable and emotional".
Book: Haunted Media by Jeffery Sconce
Page 268-270, ghosts, spirits, aliens inmachine.
Page 271, "I love you project to archive viral code"
Objects of Our Affection, how object orientation made computers a medium by Casey Alt
History of computers from"computing" machine to "media" machine, mainly through evolution of object orientation and systems theory.
Page 287, "Thus, for Kay, who understands object orientation at such a deep and intimate material level, the question of the relationship between object orientation and mediality is so obvious as to be tautological and, therefore, a nonquestion".
Page 295, "Like Bergson before him, Deleuze thus considered the material universe to be a vast, vibrating assemblage of all material movement-images acting and reacting to one another in a jittery field of unfolding relationality."
Page 297-298, McLuhen interpretation.
Digital Media Archaeology, interpreting computational processes by Noah Wardrip-Fruin
Page 302, "Christopher Strachey's 1952 loveletter generator for the Manchester Mark I"
Page 310, Queneau and Le Lionnais's "One Hundred Thousand Billion Poems" generator using flip strips for each line of sonnet.
Afterward, media archaeology and re-presencing the past by Vivian Sobchak
Page 328 "... media archaeologists are still romantics - albeit also self satirists."
Page 1: "Studies of new media often share a disregard for the past."
Dismantling the Fairy Engine: media archaeology as Topos study by Erkki Huhtamo
Page 28, "The Little People is a topos - a stereotypical formula evokes over and over again in different guises and for varying purposes. " (the idea that little people are inside the machine).
page 31, "The continued usefulness of the notion of the topos for media archaeology must rely on the assumption that its origins and manifestations are both created and conditioned by cultural forces. "
Page 33, Curtius: "Specialization without universalism is blind. Universalism without specialization is inane".
Page 36-37, cyborgs discussed.
On the Archaeology of Imaginary Media by Erik Kluitenberg
Page 49, "Book of imaginary media" from 2006
Page 55, Peter Blegvad play "On Imaginary Media" distinguishes three general types of media: media remembered, media observed, and media imagined.
Page 56, Siegfried Zielinski on three categories of imaginary media: untimely, conceptual, and impossible.
Page 58, strange prayers described as media.
- EVP: Electronic Voice Phenomena
Page 59, Edison and EVP
- Zoe Beloff on spirit photography. Find Dr. Charles Richet who documented seances with multiple stereoscopic cameras.
Page 60, talking with the dead
Page 61, universal translator from Star Trek.
- Sex substitution through "machines celibataires" or "bachelor machines". (Karka, Duchamp, Barbarella, Metropolis)
Page 62, being in two places at once.
On the Origins of the Origins of the Influencing Machine by Jeffrey Sconce
Page 71, "technical delusion - the electronic manifestation of 'thought insertion' and/or 'thought broadcasting', providing subjects with plausible technical explanations as to how their thoughts might have become implanted".
- 1919 paper "On the origins of the influencing machine in schizophrenia"
Page 73-75, early paranoid case study.
Page 81, "Schizophrenics ... identified by inability to process metaphors".
Page 83-84, Radio Mania, radio and thought transferal/surveillance.
Page 85-87 (especially 87) Freud belief in telepathy
Page 89-90, biting critique of blogging.
Freud and the Technical Media: the enduring magic of the wunderblock by Thomas Elsaesser
Much on "mystic writing pad" - the peel off pad, Freud's memory metaphor.
Page 96, archaeology of Freud: "What were the problems Freud thought that his new science of psychoanalysis might help to answer?"
Page 100, Freud as media theorist "body/mind are storage and recording medium"
Page 108, "Time, in Freud, is the protective-compensatory effect of a subjective experience of intermittence of rupture, a failure and loss of signal even, occurring in the transition between recording and storage."
Page 112 Dracula (1897) as commentary on media origins.
The "Baby Talkie," Domestic Media, and the Japanese Modern by Machiko Kusahara
Page 125, "The zograscope is seen in use in a famous woodblock print by Harunobu, Tamagawa inkoya"
Page 130, Kinora - mini-mutoscope for home.
"In Japan there are patent applications from 1932 and 1933 introducing panorama toys for which gramophones are used to automatically scroll the pictures".
Page 137, [Suiho] Tagawa was a former Dada artist, best known for his comic story Norakura (see animation in Pervasive Animation book).
The Observer's Dilemma: to touch or not to touch by Wanda Strauven
Page 152, Thaumatrope, zoetrope etc, interactivity through use of hands.
Page 152-153, Reynaud's praxinoscope theatre (1892) no longer a toy since viewer is not manipulating it.
Page 154, choreutoscope? "The eye is dependent on the hand" Piano/video game correlation.
Page 157, "Rube" film marks evidence and decline of audience /device interaction in early cinema, examples on page 158.
The Game Player's Duty: the user as the gestalt of the ports by Claus Pias
Page 169, Early computer "wirlwind" treats user as a device.
Computer decision making all compared to duty. If you do not follow rules exactly, you lose, just as Homberg is executed for breach of protocol in a war even though he won (page 167).
Page 180 "The discourse elements of the computer game are not called 'killing people' or 'catching gold nuggets' but timeliness, rhythm, or control. And these are continuously tested in a symbolic identity of the player.".
The Enduring Ephemeral, or The Future is a Memory by Wendy Hui Kyong Chun
Page 184, "a nonsimultaneity of the new, which I argue sustains new media as such"
Page 187, "one must act as though future predictions were fact in order to prevent the predicted future from taking place"
Page 196, "[Mercury delay] tubes memory and RAM explained/compared.
Page 198 "The internet wayback machine (IWM) is necessary because the internet, which is in so many ways about memory, has no memory!"
Page 199, "What makes a blog uninteresting is not necessarily its content, which often reads like a laundry list of things done or to do, but rather its immobility. The ever-updating, inhumanly clocked time in which our machines and memories are embedded and constantly refreshed makes its material stale. "
Erased Dots and Rotten Dashes, or How to Wire Your Head for a Preservation by Paul DeMarinis
Page 212, Analog and digital ... are two concepts with a common origin, although they have been cast as a contra-distinctive pair"
Page 220, Philadelphia's panopticon prison pipes don't go cell to cell so tapped signalling won't happen.
Page 227-228, artist Yasunaotone might relate to Eric Hill.
Page 230, with Sound Designer II software you can draw a waveform using a tablet.
Media Archaeography, method and machine versus history and narrative of media by Wolfgang Ernst
Page 245, tape recorder compared to Ulysses - he had to be tied up to resist temptation of sound while tape can pay equal attention to beautiful and other voices but be unmoved.
Page 247, wire recordings from 1950s available at Milman Parry Collection or Oral Literature at Harvard (web site)
Page 150, "be aware ... that ... human voices or images of the past replayed from media recordings we are not communicating with the dead; rather, we are dealing with the past as a form of delayed presence, preserved in a technological memory."
Page 253, "Since technologies changed from tools to machines, these techniques have comprised not only texts and images but numbers as well. Media archaeology therefore is close to mathematics".
Mapping Noise, techniques and tactics of irregularities, interception, and disturbance by Jussi Parikka
Page 256, "technical media are posthuman media in the sense of addressing a whole other sensorium than that of the human being".
Page 260, 50% redundancy in English "helps combat noise".
Page 268, "As Carolyn Marvin notes, poems that served as light filler in electrical journals often identified woman as technological objects under male control. Yet the huge number of women working as interconnectors in telegraph offices, as secretaries with typing machines, and later as telephone operators were uncertain elements, probably because of their imagine cultural status as unreliable and emotional".
Book: Haunted Media by Jeffery Sconce
Page 268-270, ghosts, spirits, aliens inmachine.
Page 271, "I love you project to archive viral code"
Objects of Our Affection, how object orientation made computers a medium by Casey Alt
History of computers from"computing" machine to "media" machine, mainly through evolution of object orientation and systems theory.
Page 287, "Thus, for Kay, who understands object orientation at such a deep and intimate material level, the question of the relationship between object orientation and mediality is so obvious as to be tautological and, therefore, a nonquestion".
Page 295, "Like Bergson before him, Deleuze thus considered the material universe to be a vast, vibrating assemblage of all material movement-images acting and reacting to one another in a jittery field of unfolding relationality."
Page 297-298, McLuhen interpretation.
Digital Media Archaeology, interpreting computational processes by Noah Wardrip-Fruin
Page 302, "Christopher Strachey's 1952 loveletter generator for the Manchester Mark I"
Page 310, Queneau and Le Lionnais's "One Hundred Thousand Billion Poems" generator using flip strips for each line of sonnet.
Afterward, media archaeology and re-presencing the past by Vivian Sobchak
Page 328 "... media archaeologists are still romantics - albeit also self satirists."
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