UNDERGRADUATE PROSPECTUS 2015

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Campus

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Maps

City Campus 1 Richmond Building 2 Atrium, Richmond Building 3 Richmond Building Workshop Block 4 ICT Building (Institute of Cancer Therapeutics) 5 Norcroft Building and Norcroft Centre 6 The Green 7 Horton D Building 8 Horton A Building 9 Chesham B Building 10 Chesham C Building 11 Student Central and J B Priestley Building

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12 Sports and Amenities 13 Pemberton Building 14 Ashfield Building 15 Phoenix Building South West 16 Phoenix Building North East 17 Bright Building (re:Centre – Education and Sustainable Development Centre) 18 Cavendish Building (STEM Centre) 19 Forster Building (Eye Clinic) 20 Peace Garden

Symbols key Main entrances Bus stops Free city bus stops Bus stop for the A99 free bus to the School of Management Campus Information

Visitor car parking only. Visitors must display a visitor parking permit in their car, which they can obtain from Richmond Building reception. Main roads only shown Map not to scale

Controlled parking areas (permit holders only) For more information and maps see www.bradford.ac.uk/maps

Welcome We are excited to welcome you to Archaeologies of Media and Film, a conference organised by the University of Bradford in collaboration with the National Media Museum, Bradford City of Film and the Royal Television Society. We are extremely pleased to see such a variety of media archaeological work submitted for the conference. When the conference was originally planned we hoped that it would be an opportunity for new kinds of engagement between academics, museums and media archives. We are therefore delighted to see not just academics but curators and artists among the speakers this week. We would like to thank our keynote speakers, Jussi Parikka, Peter Buse and Thomas Elsaesser – all of whom have made important contributions to this developing field – for agreeing to present at the conference. Thanks are also due to the Royal Television Society for generously agreeing to sponsor the drinks reception on Wednesday night. We hope you enjoy the conference and your stay in Bradford. Ben Roberts Mark Goodall

Conference Team Angela Barraclough Rachel Barraclough Rekha Billoo Mark Goodall Anna James Ben Roberts Karen Scott

The Conference Venues All keynotes and panels will take place on the D Floor of the Richmond Building at the University of Bradford. Some additional events will take place at the National Media Museum (see the schedule for these). The conference dinner is at the Great Victoria Hotel (opposite Bradford Interchange railway station). The main conference rooms in use at the University will be: John Stanley Bell Lecture Theatre (Richmond Level D) Richmond D1 Richmond D2 Richmond D3 Foyer All rooms are equipped with AV facilities. Using wireless networking at the University of Bradford The following services are available at the University of Bradford:

eduroam is available for University of Bradford students and staff and for visitors to the University (if their home institution also provides eduroam).

The Cloud is a free wifi service for visitors who are unable to use eduroam. The Cloud is available in the same locations as eduroam.

How to find the National Media Museum The National Media Museum is situated in Bradford city centre and the route is well signposted. It is a five minute walk from Bradford Interchange and a fifteen minute walk from Bradford Forster Square station. From Bradford Interchange, come down the hill, across the crossing and turn left in front of City Hall. From City Hall, walk across City Park. Cross the road and walk left towards the glass front of the National Media Museum.

How to find the University of Bradford By train Bradford has two train stations - Bradford Interchange and Bradford Forster Square. Both stations have extensive rail links, though many involve changing at Leeds. The Interchange is where you will probably arrive. Approximate journey times are: London, King's Cross - 3 hours Edinburgh - 4 hours Birmingham - 3 hours Manchester - 1 hour Leeds - 20 minutes National Rail Enquiries: www.nationalrail.co.uk

Getting to the City Campus from the train stations Walking takes about 15 minutes, though it is partly uphill. From the Interchange, come down the hill, across the crossing and turn left in front of City Hall. From Forster Square station, walk along past the "Fibres" sculpture out onto Cheapside, then along Market Street to City Hall. From City Hall, walk across City Park. Cross the road and walk left towards the glass front of the Alhambra Theatre. Turn right up Great Horton Road just before the Alhambra Theatre. The University is about 300 metres up this hill, beyond the College. The side entrance to the Richmond Building (the entrance actually on Great Horton Road) is card access only. Walk past the side entrance and take the next right onto City Campus, where you will be able to access the main entrance to the Richmond Building as well as other buildings at the City Campus.

Free City Bus The Bradford Free City Bus service connects key locations around the city centre. These include Bradford Interchange, Forster Square Rail Station, Forster Square shopping Park, Kirkgate Shopping Centre, the Oastler Centre, the National Media Museum and Library and the University of Bradford. The buses run every ten minutes from 7am to 7pm, Monday to Friday and 8am to 5.30pm on Saturdays. Full details are available on the Metro website: http://www.wymetro.com/BusTravel/freetownandcitybuses/Bradford/

Taxi Alternatively, and especially if you have luggage, you can take a taxi, costing about £4.00.

By air There are direct regular air services into Leeds/Bradford International Airport, 7 miles (11 km) from the University, from various cities around the UK and Ireland as well as from many international locations. Bradford can be reached from the Airport by taxi at a cost of about £16. There is also an hourly bus service to Bradford Interchange at a cost of around £2.00. Many internal and international flights can also be made into Manchester Airport, 50 miles (80 km) south-west of Bradford. Leeds/Bradford International Airport - www.lbia.co.uk

Visitor Parking We have a limited number of visitor car parking spaces available at both campuses therefore car parking cannot be guaranteed. Please look at other options first. If you still need to drive make sure to leave sufficient time just in case you need to find alternative parking. Should you get a space at one of our visitor car parks you must then obtain a car parking permit from the relevant reception. The permit must then be displayed clearly on the windscreen of your vehicle within 15 minutes of parking.

City Campus parking Visitors coming to the City Campus can use the first-come, first-served visitors car park, adjacent to the Richmond Building. This can be accessed from the University entrance on Great Horton Road. The postcode for Sat Nav purposes is: BD7 1AZ.

Car parking permits A car parking permit must be obtained from the Richmond Building reception, once you're in the car park.

Archaeologies of Media and Film 2014 Wednesday 3 September

14.00 Registration (tea and coffee) Venue: Richmond D3 Foyer 14.45 Intro and welcome Venue: John Stanley Bell 15.00 PLENARY SESSION: Jussi Parikka (University of Southampton): ‘The Media Archaeological Time’ (John Stanley Bell) 16.00- 17.30 PANELS A A!: VENUE: John Stanley Bell A2: VENUE: Richmond D2 A3: VENUE: Richmond D1 VIDEO GAMES

THE ARCHIVE 1

STEREOSCOPIC PHOTOGRAPHY

Chair: Karen Scott (Bradford)

Chair: Rachel Barraclough (Lincoln)

Rebecca Hernandez-Gerber (New York University) GOTTA CATCH ‘EM ALL? VIDEO GAME PRESERVATION AND VARIANT FORMS

Victoria Grace Walden (Queen Mary, University of London) THE HOLOCAUST ARCHIVE AS CINEMATIC MEMORY

Joana Bicacro (Universidade Lusofona) NAVIGATING THE RUINS OF PORTUGUESE STEREOSCOPY

Mike Best (Royal Television Society) DO YOU REMEMBER WHEN?

Rodrigo Tavarela Peixoto, Filipe Costa Luz (Universidade Lusofona) REMEDIATION OF THE SPECTACULAR

Chair: Ben Roberts (University of Bradford)

Alison Gazzard (IoE, University of London) RE-PROGRAM, RE-PLAY, REWIND: COMPUTER GAME MAGAZINE LISTING IN 1980S BRITAIN

Victor Flores (Universidade Lusofona) THE OPPORTUNITY FOR A PORTUGUESE STEREO ARCHAEOLOGY

Christian Hviid Mortensen (University of Southern Denmark) BEYOND NOSTALGIA: RETRO-GAMING AND VINTAGE COMPUTING IN THE MUSEUM

18.00 Drinks Reception sponsored by the Royal Televsions Society at the National Media Museum, Experience Gallery

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Thursday 4 September

B1: VENUE: John Stanley Bell

9.00-9.30 Registration (Sanderson Room) 9.30-11.00 PANELS B B2: VENUE: Richmond D1 B3: VENUE: Richmond D2

B4: VENUE: Richmond D3 Foyer

ANIMATION

AUDIO

ART AND ARCHAEOLOGY

ARCHIVES AND TEMPORALITY

Anna Zett DINOSAUR.GIF (video essay)

Richard Rudin (Liverpool John Moores) RADIO RE-REMEMBERED AND RE-CONTESTED

Louisa Minkin, Ian Dawson (Central St. Martins) GRAVE GOODS

Panagiota Betty Nigianni (University of Southampton) AFFECTIVE NETWORKS

Richard Stamp (Bath Spa University) A DELAYED DOUBLE-TAKE': JOHN WHITNEY, SR AND THE DISCONTINUOUS ADAPTATION OF COMPUTER ANIMATION

Ido Ramati (University of Jerusalem) HEBREW SOUND RECORDINGS

Zoe Beloff (CUNY) IFIF (INSTITUTE FOR INCIPIENT FILM)

Mert Bahadir Reisoglu (New York University) DIGITIZED VOICES AND MATERIALITY IN MIGRATION-AUDIO

Artemis Willis (University of Chicago) MEDIA-ARCHAEOLOGICAL ART PRACTICE AS CRITICAL PRACTICE

Chair: David Robison (Bradford)

Alessandra Chiarini (University of Bologna) THE MULTIPLICITY OF THE LOOP: TEMPORALITY, REPETITION AND DIFFERENCE IN THE ANIMATED GIF

Chair: Mark Goodall (Bradford)

Chair: Karen Scott (Bradford)

Chair: Rachel Barraclough (Lincoln)

Jane Birkin (University of Southampton) PHOTOGRAPHY AND DESCRIPTION: ARCHIVES, ORDER AND SPECIFIC TIME

C1: VENUE: John Stanley Bell

11.00 Refreshment Break (Richmond D3 Foyer) 11.15- PANELS C C2: VENUE: Richmond D1 C3: VENUE: Richmond D2

ARCHAEOLOGY

SOCIAL MEDIA

TELEVISION

Alex Casper Cline (Anglia Ruskin) TOWARDS A METHODOLOGY FOR MEDIA ARCHAEOLOGICAL EXCAVATION

Niels Kerssens (University of Amsterdam) BEYOND THE ENGINE: TOWARD AN ARCHAEOLOGY OF ONLINE SEARCHING

Nick Hall (Royal Holloway) WHAT IS A “BBC CAMERA”? UNEARTHING THE TOOLS AND TECHNIQUES OF 1960S DOCUMENTARY FILMING

Grant R. Wythoff (Columbia University) MOBILE MEDIA AND THE PALEOLITHIC/FRENCH ARCHAEOLOGY

Sarah Atkinson (University of Brighton) DEEP FILM ACCESS: THE ARCHIVING OF FILMMAKING EXPERTISE AND COLLABORATIVE ENDEAVOUR

Chair: Sam Cameron (Bradford)

Teresa Cruz (NOVA University of Lisbon) IS THERE AN ARCHE-CINEMA? THE CONTRIBUTION OF PALEOLITHIC HERITAGE TO MEDIA THEORY AND ARCHAEOLOGY

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Chair: Ben Roberts

Chair: Karen Scott

Tim Barker, Amy Holdsworth (University of Glasgow) TELEVISION IN AND OUT OF TIME: ZIELINSKI, FLUSSER, ERNST AND TELEVISION’S CONDITION OF CONTEMPORANEITY Iain Baird (National Media Museum) LOVE, POLITICS AND TELEVISION IN TERENCE RATTIGAN'S HEART TO HEART (1962)

12.45 LUNCH 14.00-15.00 PLENARY SESSION: Peter Buse (Kingston University): ‘Hard-copy wager: the death and afterlives of Polaroid photography’ (John Stanley Bell) Lecture Theatre) 15.00-16.30 PANELS D D1: VENUE: Richmond D3 Foyer D2: VENUE: Richmond D1 D3: VENUE: John Stanley Bell ARCHAEOLOGICAL THEORY

EXPERIMENTAL MEDIA ARCHAEOLOGY

THE ARCHIVE 2

Vanina Hofman, Natàlia Cantó Milà, Pau Alsina (Open University of Catalonia) DIGGING INTO THE REMAINS OF THE INVISIBLE AVANT-GARDE

Annie van den Oever (University of Groningen) EXPERIMENTING WITH THE IMPACT OF NEW MOVING IMAGE TECHNOLOGIES. SENSITIZATION, DE-SENSITIZATION, AND RESENSITISATION OF USERS

Michelle Henning (University of Brighton) MUSEUMS, MEDIA ARCHAEOLOGY AND THE IMAGE

Chair: Rachel Barraclough (Lincoln)

Tomas Dvorak (Academy of Sciences of the Czech Republic) ARCHAEOLOGY OF THE STATISTICAL DIAGRAM Edwin Carels (University College Ghent, Faculty of Fine Arts) THE PLATEAU EFFECT: CORRECTING THE PERSPECTIVE ON JOSEPH PLATEAU

Chair: Karen Scott (Bradford)

Andreas Fickers (University of Luxemburg) EXPERIMENTAL MEDIA ARCHAEOLOGY AND THE METHOD OF RE-ENACTMENT

Chair: Ben Roberts (Bradford)

Lise Kapper, Christian Hviid Mortensen (Mediemuseet/Odense Bys Museer) HACKING THE COLLECTION: THE CREATIVE DESTRUCTION OF DEACCESSIONED MUSEUM OBJECTS Gregory Zinman (Georgia Institute of Technology) THE ETERNAL RETURN OF THE CINEMATIC EVENT: OSKAR FISCHINGER’S RAUMLICHTKUNST, MATERIALITY, AND THE MUSEUM

17.00 – 18.00 Tours of the National Media Museum 19.00 onwards Conference Dinner

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Friday 5 September

E1: VENUE: Richmond D2

9.00 REGISTRATION (Richmond D3 Foyer) 9.30 REFRESHMENTS (Richmond D3 Foyer) 10.00 PANELS E E2: VENUE: John Stanley Bell

HAUNTOLOGY

ARCHIVING AND EDITING KITTLER

J. R. Carpenter (University of the Arts, London) WHISPER WIRE: HAUNTED MEDIA

Tania Hron/Sandrina Khaled (Humboldt Universität Berlin) FRIEDRICH KITTLER’S COLLECTED WORKS

Gerald Bar ( Universidade Aberta / CECC Portugal) ORPHEUS AND THE DOPPELGÄNGER-SHOT

Moritz Hiller (Humboldt Universität Berlin) TOWARDS A PHILOLOGY OF CODE

Chair: Mark Goodall (University of Bradford)

Chair: Ben Roberts (University of Bradford)

Phil Ellis (Plymouth University) REENACTTV: 30 LINES / 60 SECONDS (PERFORMANCE/TALK)

11.30 Refreshment Break 11.45: PLENARY SESSION: Thomas Elsaesser ‘Motion, Energy Entropy: Towards Another Archaeology of the Cinema’ (John Stanley Bell Lecture Theatre) 12.45- 1.45 Lunch 13.45 – 15.15 PANELS F F1: VENUE: Richmond D1 F2: VENUE: Richmond D2 Chair: Jessica Borge (Birkbeck, University of London)

Chair: David Robision (Bradford)

ARCHIVES IN MOTION

FILM

Alessandro Bordina (University of Udine) ANALOG AUDIOVISUAL TECHNOCULTURAL TRACES IN THE DIGITAL WORLD

Annie Wan (Hong Kong Baptist University) REVITALIZING HONG KONG CINEMA

Ludovica Fales (University of Udine) ARCHIVE RECONFIGURATION, REMEDIATION AND REMIX PRACTICES AT THE CROSSROADS BETWEEN CONTEMPORARY ART AND DOCUMENTARY FILMMAKING. THE CASE OF YOUTUBE AND CC LICENSES

Zara Dinnen (University of Birmingham) HOLOGRAMS AS DIGITAL METAPHOR AND MATERIAL HISTORY

Lisa Parolo (University of Udine) CONTINUITIES AND DISCONTINUITIES IN THE ARCHIVIST'S PRACTICE. THE CASE OF LOOKING FOR LISTENING BY MICHELE SAMBIN

15.15 Refreshments

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G1: VENUE: Richmond D1

15.30 – 17.30 PANELS G G2: VENUE: Richmond D2

G3: VENUE: John Stanley Bell

ARCHIVES, SPACE AND PLACE

CURRENT RESEARCH INTO VIDEO CULTURES

ARCHAEOLOGY AS SUCH

Patrick Allen (University of Bradford) CITY OF TINY LIGHTS

Mark McKenna (University of Sunderland) RECONFIGURING THE ‘MERCHANTS OF MENACE’

Cassi Newland (King’s College London) SCREMBLED MESSAGES

Jamaluddin Bin Aziz (Universiti Kebangsaan Malaysia) EXPLORING “FILM ARCHIVE” FOR FILM STUDIES IN MALAYSIA: SOME PRELIMINARY NOTES TOWARDS FILM RESEARCH USING THE ARCHIVE IN MALAYSIA

John Mercer (Birmingham City University) WHAT GETS LEFT BEHIND: VHS AND ARCHIVES OF SEXUAL REPRESENTATIONS

Paul Graves-Brown THE SEX PISTOLS' GUITAR TUNER

Chair: Karen Scott (Bradford)

Les Roberts (University of Liverpool) NAVIGATING THE ‘ARCHIVE CITY’: DIGITAL SPATIAL HUMANITIES AND ARCHIVAL FILM PRACTICE

Chair: Mark Goodall (Bradford)

Johnny Walker (Northumbria University) REWIND AND PLAYBACK: RE-EXAMINING THE VIDEO BOOM IN BRITAIN Oliver Carter (Birmingham City University) FANS AS ARCHIVISTS: COMMUNITY CURATION OF VHS

Chair: Angela Piccini (University of Bristol)

Andrew Reinhard, (American School of Classical Studies at Athens, Princeton, N.J.) HOW WE DUG THE ATARI BURIAL GROUND Matthew Tyler-Jones (University of Southampton) FICTIONSUITS – AN INTERPRETIVE TOOL? Lorna Richardson (University College London) THE ARCHAEOLOGY OF SOCIAL MEDIA ARCHAEOLOGY Greg Bailey (University of Bristol) MEDIA AS ARCHAEOLOGY OR ARCHAEOLOGY AS MEDIA? Sara Perry & Colleen Morgan (University of York) TOWARD A PRODUCTIVE SYNERGY WITH MEDIA ARCHAEOLOGIES

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Abstracts Patrick Allen (University of Bradford) ‘City of Tiny Lights’: visuality and the media architectural body This paper develops a long standing interest visual theory and visuality as it relates to the experience of the urban and built environment and in particular with the presentation of large scale media forms in public space and how these have become an integral part of the experience of the city. In the first instance, the work presented is intended to provide a critique of visuality as it applies to urban space. As a part of this general critique the paper develops further some of Lev Manovich’s ideas relating to the “poetics of augmented space” (2006), but extends this to encompass embodiment and the body as a frame (Hansen, 2002) for the reception of media in public space. In addition, it argues that the emergence of “augmented public space” (Allen, 2009) has become an integral part of the experience of the city. This phenomenon is characterised by the notion of the “media architectural body” (Allen, 2012), whereby the body is seen to fuse with architecture as it intersects with media technology. A case study will be presented, and through the use of examples, will provide both a genealogy of contemporary urban media spaces and will question some of the assumptions relating to visuality and the rhetoric associated with the increased role played by visual forms in the experience of the urban. This investigation makes direct reference to Huhtamo’s concept of a “media archeology of the present” (2004 and 2011) and the potential for a genealogy of contemporary contemporary media spaces that arises from this. Sarah Atkinson (University of Brighton) Deep Film Access: the archiving of filmmaking expertise and collaborative endeavour Deep Film Access is a Big Data, Digital Transformations themed project funded by the AHRC. The project aims to unlock latent opportunities that exist within big and complex data sets generated by industrial digital film production which involve the capturing, archiving and access to the diverse range and levels of expertise which exist within filmmaking. This paper, written mid-way through the delivery of this project, will present the findings of the initial stages of this research which aims to advance a methodology for the integration of the data and metadata that has been generated through film production. The project uses the entire corpus of Sally Potter’s Ginger & Rosa, which will be used as a proof-of-principle for this project. It provides an emblematic example of an industrial digital feature film production in contemporary Britain and includes the work of a number of renowned and prolific practitioners in the UK and International film industry. By sequentially combining the automated data of the film production process with the qualitative, descriptive, contextual and expert knowledge generated by film professionals, the project will evolve new ways that these currently disparate sources can be integrated within the primary digital film asset, allowing them to be re-explored in the future. Through the improvement and evolution of new discovery and research methods, the project aims to stimulate film production data being used in new ways, across academic disciplines, industry professions and beyond. Jamaluddin Bin Aziz ((Universiti Kebangsaan Malaysia) Exploring “Film Archive” for Film Studies in Malaysia: Some Preliminary Notes towards Film Research using the Archive in Malaysia This paper presents some preliminary notes on an exploratory research in film archives in Malaysia. The Exploratory Research Grant introduced in 2013 and ended in the same year by the Ministry of Higher Education, Malaysia (which is now being reduced to a sector in the Ministry of Education) is aimed at exploring what Malaysian film archives can offer to Film Studies in Malaysia. Within two perspectives explored in this study, i.e. media archeology and cultural materialism, it is found that Film Studies in Malaysia is losing from both the lack of adequate and proper film archive as well as the perpetual change in the political definitions of culture in Malaysian context. These consequently affect the way film materials are dealt with, archived, and even interpreted. What this, at present, means is the deletion of the possible heterogeneity of meanings produced by the films. Greg Bailey (University of Bristol) Media as Archaeology or Archaeology as Media? The idea of ‘archaeology’ - understood as material/discursive practice, or the sites, artefacts and data that constitute the matter of archaeology - as somehow existing beyond or separate from ‘media’ - understood as platforms of

communication, hybrid technologies or carriers of meaning - is probably unrealistic. Whether regarded as stuf, reflecting instrument or transformative praxis, in its coincident realisation as message carrier and cultural artefact, archaeology is transmitter and transmission. Iain Baird (National Media Museum) Love, Politics and Television in Terence Rattigan's Heart to Heart (1962) The televised play, Heart to Heart (1962) by Terence Rattigan is of considerable historical value as it shows us what the television landscape was like 50 years ago. It addresses the psychological pressures and the moral dilemmas of people who are overexposed to public view, whether in the media or in politics. In the opening sequence we see the fictional “British Television Company”. The futuristic studio looks like a disorganised clutter of thick cables and heavy cameras, silently manipulated by men in overalls. The message is that television technology has drilled humans into its use. The studio is like a laboratory; experimenting in communications, creativity, language, and measurement. The control room above contains a battery of cathode ray tube monitors and the atmosphere is tense. The cameras are trained on a small raised platform with a couple of chairs upon which the interviewer and his ‘victim’ face each other. The part of the interviewer, modelled on John Freeman in “Face to Face” (BBC, 1959-62), is played by Kenneth More. He is not the cheery young chappie that we came to know in so many of his films, but a mature and intelligent man stressed by his job in front of an audience of 10-15 million. As Faust, he is trying to overcome a drinking problem. As an intellectual Everyman, he personifies the scepticism around television which existed amongst a 1962 BBC audience still fundamentally grounded in print culture. A breaking point is reached when the interviewer comes before the cameras with a dodgy cabinet minister who presents himself as a bluff ‘man of the people’ -- played brilliantly by Sir Ralph Richardson. Part of “the Largest Theatre in the World” series of television plays, Heart to Heart is a sophisticated example of television questioning itself which is rarely seen. It is a hybrid form, a play largely set in a television studio, broadcast (live) for a television audience, and based on a real-life programme that was on the air at the time. It overlaps with the intellectual and political culture of the day, and reflects contemporary attitudes to politics on television, and to a lesser degree, commercial television. ‘Figure’ as agent of change and ‘ground’ as the environment where change occurs was an observational tool primarily developed by the Canadian media scholar Marshall McLuhan during the 1960s. A figure and ground approach has probably never been applied to “Heart to Heart”. This approach is an effective method of understanding how Rattigan’s play interprets television culture at this time. It is effective because of two profound moments of change (1) the figure of the cabinet minister’s jilted secretary (with a sense of patriotism) (2) the obligation to appear on live television as a powerful figure able to disrupt the political career of the cabinet minister. Television itself acts as both figure and ground, as the roll out of a new television format is a theme throughout the play. These media landscapes and processes simultaneously reveal existing human relationships while further affecting the people involved. In typical Rattigan style, the hidden (or in some cases repressed) human relationships are revealed, particularly for Kenneth More’s character. He is also a ground, upon which the effects of television as figure have been traumatic. For the cabinet minister, television (arguably) acts as a moral regulator. Gerald Bar (Universidade Aberta / CECC Portugal) Orpheus and the Doppelgänger-shot Projecting the invisible, namely the soul, onto the screen has always been a human ambition; its technical realization began with the dawn of mankind. Making the soul visible meant gaining control over it. Its imagery in our western collective imaginary was influenced by myths such as ‘Orpheus and Eurydice’ and descriptions in literature (e.g. Ulysses’ visit to Hades in Homer’s Odyssey). The underworld and its inhabitants were depicted by many painters (Rubens, Kratzenstein, Kasparides), in the 18 th and 19th centuries the phantasmagorias of Schröpfer and Robertson anticipated ‘spirit photography’ (Mumler, etc.), but only the technology of cinematography would provide the ideal habitat for the pictorial heritage of the soul. Already in 1896 the Russian author Maxim Gorki had compared his experience while watching a film with “the Kingdom of the Shadows” (cf. Leyda, 1972). Joseph Roth (1934) still uses this metaphor of the shadow for cinematographic production in combination with the Hades and the concept of the Doppelgänger. In Die Kinotechnik (1919/21) the German cameraman Guido Seeber had claimed to be the inventor of the Doppelgänger-shot

(Doppelgängeraufnahme), which made it possible to show moving pictures representing the soul. However, more than a decade before Seeber had filmed Der Student von Prag (1913) transparent figures appeared on the screen, as for example in Le Manoir du Diable (1896) and Le Portrait Mystérieux (1901) by Georges Méliès and in Photographing a Ghost and The Corsican Brothers (both 1898) by G. A. Smith. Influenced by literature and painting cinema has appropriated the Orphic theme in many variations. From Fritz Lang’s Der müde Tod, 1921 to Jean Cocteau’s Orphée-trilogy (1930-1960). From L’Année dernière à Marienbad (Resnais / Robbe-Grillet, 1961) to The Matrix Revolutions (Wachowski, 2003). Based on my former publications and on the recent book by Andriopoulos (Ghostly Apparitions: German Idealism, the Gothic Novel, and Optical Media, 2013), this contribution aims at contextualizing the motif and the technological development of its cinematographic representation in terms of media art and archaeology, concentrating on German media theory. Tim Barker and Amy Holdsworth Television In and Out of Time: Zielinski, Flusser, Ernst and Television’s Condition of Contemporaneity On both the micro scale of signal processing and the macro scale of human experience, the concept of time has become one of the central topics around which critical discussions of media and technology revolve. There has been a boom in theories of memory and media, focussed largely on the ways media content mobilises cultural memory (Guarde-Hansen, Hoskins and Reading, 2009). Techno-cultural theorists like Adrian Mackenzie (2002) have told us about the speeding up of machinic, non-human, temporality, splitting from our daily ‘lived’ time. Bernard Stiegler (1996/2009) has likewise pointed to the disorientation of contemporary media culture, as time becomes re-organised in drastically new multi-temporal ways and social geographers such as David Harvey (1990) have given us a picture of an increasingly shrinking globe, where developments such as the horse and cart, the jet engine, the telephone, the telegraph, and new communications technology have resulted in drastically new experiences of time and space. “Simply put, the time of the world – and specifically of computational objects and processes – has become fundamentally disjoined from the time of experience, with the result that we find ourselves facing a new, structurally unprecedented form of alienation” (Hansen and Mitchell, 2010: 110). In this paper we explore what the art historian Terry Smith calls the conditions of contemporaneity from a perspective informed by media archaeology. Inspired by Siegfried Zielinski’s (2002/2008), Vilém Flusser’s (1985/2011) and Wolfgang Ernst’s (2002) analysis of television, we explore the role played by the technical architecture of contemporary ‘digital television’ in generating the experience of at once being in and out of time, an experience that Smith describes as a defining feature of the condition of contemporaneity. Embedded in this argument is a rethinking of the long tradition of theory that seeks to explain television’s temporality based on concepts of liveness (Bourdon, 1986), flow (Williams, 1975), tele-presence and co-presence (Berger, 1976). A range of interactive devices and social media now offer the potential to connect viewers to the temporal dynamics of television production and live events. But simultaneously digital television draws viewers into its own technicity, as platforms subject users to rules and protocols, ensuring often very limited experiences of ‘real time’ participation. Digital television’s temporality offers experiences of shared, networked time, but simultaneously involves the melancholy and anachronism of viewers disengaged from the shared memory of events in exchange for repeated iterations, time shifting and binge watching. This is not simply a routine produced by industry or viewing practices alone, but something that is, as Zielinski, Flusser and Ernst have argued, pre-supposed in the history of the development of television’s technical architecture and its capacity as a signal processing machine. Zoe Beloff (CUNY) IFIF (Institute for Incipient Film): Two case studies I am an artist whose current work is driven by a desire to reimage history particularly from the perspective of utopian social thinking. I plan to speak about my ongoing project The Institute for Incipient Film (IFIF) to explore films that were derailed before they could be realized. I will focus on two films created under the umbrella of the IFIF that take the form of speculative essays: The Glass House based on a film proposed to Paramount in 1930 by Serge Eisenstein and A Model Family in a Model Home will be based on notes for a film made by Bertolt Brecht in Los Angeles in 1941. Both concern architecture and surveillance. I wish to explore what these films might have been in their time and more importantly their relevance for us today. Mike Best (Royal Television Society) Do You Remember When? The proposed session is based on my experience as a Producer, Head of Regional Programmes and Director of

Broadcasting at Yorkshire Television between 1981 and 2001, and my subsequent work as an independent television producer. It is a session fully illustrated with programme extracts which looks at how and why archive material can be such a vital tool for any television producer. Specifically it looks how archive brings the past into the present, allows the viewer to see something that in all probability has physically disappeared, and is also multi-layered in its appeal with five different people inevitably looking at the same archive clip from five different perspectives. The title for the session Do You Remember When? Is taken from the opening of a series of DVDs I produced for the Yorkshire Film Archive called Yorkshire Remembered. They were the words spoken by the presenter – the late Richard Whiteley – to sum up what the series (and what archive film) is all about. The session includes extracts from a series I produced for Yorkshire Television in the 1990s which was based on material in the Yorkshire Film Archive (much of which had never been broadcast: some of which had never been catalogued!) , as well as two documentaries I produced to mark the anniversaries of the York Minster Fire of 1984 and the Nypro Chemical Plant explosion at Flixborough in 1974 – both of which relied heavily on archive material for the programme content, and indeed to win the commission to make the programmes. It also includes an extract from a programme produced in 1997 to mark the 25th anniversary of Emmerdale: one of the early examples of what has become a standard programme format these days, a television programme based around archive extracts from a television programme. It all demonstrates that the moment you capture something on film or tape or online, it itself becomes archive for the future, and it shows that when it comes to the value of archive to a programme maker, nothing goes to waste. Joana Bicacro ( Universidade Lusofona) Navigating the ruins of Portuguese stereoscopy through its negatives Stereo Visual Culture is an on-going media archaeology research project focused on the study of the first wave of Portuguese stereo photography, produced and circulating in Portugal between 1860 and 1920. Until the beginning of this project, Portuguese stereoscopy lacked a substantial identification and was only tangentially referenced by media theorists or photography historians. Some of its main figures were known but their work was not. Most of the images now in the project's corpus—comprehending circa 11000 stereo pairs from national museums and archives—seem to have been forgotten (unseen, misused or misunderstood) for nearly 100 years. The archaeological treatment these images require is faced with acute theoretical, institutional and cultural challenges (while, on the contrary, the technological challenge recently seized to be an issue). This presentation aims both to summarily report the first findings of this research project and to give an account of the mentioned challenges. These challenges are motivated, above all, by the fact that 70% of the images have as support the negative glass plate. It is virtually impossible to uncover this forgotten life of Portuguese photography or to renew the stereoscopic experience once envisioned through these objects without radically changing from one medium to another—that is, from the dead glass negative to the digital screen stereoscopic experience. This transformation risks ignoring or speculating about stages of the photographic creation process traditionally overvalued by photography theory and art history. Most importantly, the validity of the analysis conducted with resort to the conversion and migration of these images to other media environments (such as contemporary 3D television sets), depends on a complex articulation of the current 3D screen qualities with 1) the discursive reception and the textual production of the period and 2) the careful survey of the concrete, non-screen, material conditions that characterized stereoscopic experience during the Belle Époque in Portugal (and throughout the western world). When left uncrossed, the barriers often raised, by particular theoretical, institutional and cultural challenges, to the digital navigation of the Portuguese stereoscopy and its dead archive block the view to a very rich and once very popular visual culture landscape. When crossed, these barriers reveal a corpus that, on the one hand, strongly relates to seminal aspects and procedures of 20th century and present day photography and cinema (such as family and travel albums, report or documentary uses) while, on the other hand, constitutes a thorough and abundant exploration of the possibilities of stereoscopic media. Jane Birkin (University of Southampton) Photography and description: archives, order and specific time Media archaeology has increasingly needed to address the question of the archive, as an institutionalised memory

management system and as a prototype for media storage and ‘archiving’ techniques. In this paper I will consider photography and time in the archive, not through considerations of preservation and regulated temporalities produced by such management systems, but as it materialises through archival descriptions and lists. The traditional visual content-based archival description of a photographic image defines the specificity of a moment, the situation or the scene. These descriptions, when encountered together in a catalogue list, define the wider temporalities of the event. The event unfolds in time through the juxtapositions, the part to whole relationships, of discrete units of description. Time in archives is delineated through original order. The archive takes on a developmental order, a consequence of the methods of collection and use of the originating individual or organisation. The list respects and replicates the physical arrangement of the archive and so records and preserves the methodology of collecting. Within this diachronic milieu, the individual object and description is synchronic; both atemporal and supertemporal in nature. Inside and outside the archive, description writing and list making are methods of recording, not storytelling. In narrative theory, both description and list are classed as ‘narrative pause’, a low form of writing that can almost be disregarded. Wolfgang Ernst quotes Fowler on the narrative pause, ‘The plot does not advance, but something is described.’[1] I will argue that, in the case of the archival catalogue description, the plot is advanced, through the lists, and the juxtapositions therein, that expose the acutely shallow time and non-chronological advancement of the archive. In this way, the list itself describes. I will position the single photographic image (in common with its description) as a narrative pause: a discrete and inherently atemporal form, a scene that exists outside the plot. It must be at the same time accepted that the photograph, like the denoted description itself, is a writerly text [2], a participatory object. The reader might introduce a version of the plot with its own particular temporalities; this version could be corroborated or invalidated by seeing the object in relation to its place in the archive or list. I will demonstrate how my own practice-based research uses archival-like description of visual content as a methodology, this in collaboration with the full or partial withholding of the image, to investigate the concepts outlined above. Typically working with connected sets of images and texts, I explore part to whole relationships in order to define temporalitites of both situation and event. I will conclude with a short lecture-performance: a reading from an existing list of archival catalogue descriptions. [1] ERNST, W. & PARIKKA, J. (ed.) 2013. Digital memory and the archive, Minneapolis, University of Minnesota. (p.148) [2] BARTHES, R. 1975. S / Z, London, Johnathan Cape Ltd. (p.4) Alessandro Bordina (University of Udine) Analog audiovisual technocultural traces in the digital world Jacques Derrida, starting from Freud's considerations on Wunderblock, highlights that any hypomnesic technique does not constitute a neutral “space” of memory conservation, but determines modalities of existence and of transmission of archivable content. Although non-exclusive, the state of communication, recording and storage technologies are key factors in defining archive material's conservation possibilities. Moreover, it governs indexing, recovery, interpretation and interrelation of data systems. Every technological transition contributes, to various degrees, to redefining conditions of existence and use of archivable materials. In the field of audiovisual conservation, the establishing of digital migration as main preservation strategy will have important effects on the existence and interpretation of analog film and video archives. On the one hand, tendencies of “rewriting” analog technological past through processes of “digital retroaction” (Wolfang Ernst) become more and more evident. The history of analog media tends to be reinterpreted as a linear chain of events that leads and prepares the ground to the advent of digital technologies disregarding all of its contradictions and breaks. In the same way, from a conservation point of view, all peculiar techno-cultural features of analog objects that cannot be migrated in the digital realm (see Parikka, Kittler) are in danger of being forgotten or erased (in this sense the processes of decision-making in digital restoration works are worth being analyzed in themselves). On the other hand, the technical structures of digital archives, through their original modalities of indexing, retrieving, data interoperability and access, allows not only the development of innovative ways of cultural appropriation and studying of analog audiovisual heritage, but also the emergence of a different historiographical approach. My paper intends to investigate the possibilities offered by a genealogic (Foucault) approach to the audiovisual conservation in the digital era, that could allow the documentation and future transmission of the techno-cultural variety of analog obsolete media. Synne Tollerud Bull (Oslo National Academy of the Arts) Circles of Aerial Immersion: The Observation Wheel and Cinéma Trouvé

The erection of the London Eye in 2000 has spurred a recent surge of big observation wheels around the world, including The Star of Nanchang, China (2006) and the Singapore Flyer (2008). The engineering galore of these will soon be challenged by a number of planned projects such as the Dubai Eye (210m), Bejing Great wheel (208m), New York High Wheel (192m), and Las Vegas High Roller (167m). Opened to the public in 1893 as part of the World’s Colombian Exposition in Chicago, the 80-meter-high original Ferris Wheel was a “hybrid cultural phenomenon that displayed a threefold character of vantage point, kinesthetic device, and optical entertainment.”[1] To look from the Ferris wheel, Mark Dorrian has remarked, implies a geographic, temporal, and visionary position. Serving as a combination of “a carnivalesque fairground ride” and an “observation wheel” Ferris himself insisted on the latter, seeking to align his construction with its “Parisian predecessor” and a former elite, but by now “popularized visual modality.” As Dorrian has shown, the ride on the Ferris Wheel was an experience significantly shaped by the increasingly popular optical entertainments and philosophical toys during the nineteenth century. In this paper I call attention to this specific feature of mechanical motion combined with the aerial view in the context of the observation wheel, coining the term cinéma trouvé or “readymade cinema.” I use the term cinéma trouvé in order to point out a specific cinematic experience outside of the conventional cinematic apparatus. My approach will be to align a dialog between the aerial view, deliberately studied across disciplines as a powerful format with performative implications, and camera movement, an often acknowledged yet under-theorized cinematographic convention that plays with our sense of immersion in place and space. When aligning the cinéma trouvé of the observation wheel to the flourishing camera movement and aerial view in recent digital cinema (Brown, 2013) and on-line geography media such as Google and Skybox Imaging, it is easy to see why Hito Steyerl has called the aerial view our visual paradigm of the 21st century (Steyerl, 2912). My claim will be that in the vision machine of the observation wheel, the spectator assumes the position of a camera in an excessive tracking or crane shot, participating physically in what Tom Gunning has called the “unsettling nature of camera movement” (Gunning, 2013). In the paper I will discuss what this sensation of double movement does to the already powerful image from above. The paper will investigate how the observation wheel is linked to our need to frame the world into an image of ownership and appropriation and at the same time seek out the feeling of being suspended and exceptionally vulnerable. It asks how this experience mirrors that of current technological development of moving image media by tracking immersion versus rational overview, mapping, and control, as drones and other aerial operated images structure our consciousness on an every day basis. [1] Mark Dorrian, “Cityscapes with Ferris wheel,” 26, in Urban Space and Cityscapes ed. Christoph Linder (London: Routledge, 2006) 25. Peter Buse (University of Kingston) Hard-copy wager: the death and afterlives of Polaroid photography Drawing on recently released materials in there Polaroid archive, this paper traces Polaroid Corporation’s ill-fated digital strategy in the 1980s and 1990s, a strategy which bet heavily on the continued importance of hard-copy images. It takes as symptomatic the Captiva camera, which anticipated many aspects of digital photography, but remained stubbornly analogue. While noting that digital rendered Polaroid obsolete, the paper goes on to comment on the return of Polaroid in ads and apps, and asks what else, besides nostalgia, is at work in this revival. Edwin Carels (University College Ghent, Faculty of Fine Arts) The Plateau Efect: correcting the perspective on Joseph Plateau Using a practice-based approach as a curator, my research deals with a further expansion of the notion of pervasive animation (Buchan) towards the field of museology. What is at stake when animation leaves behind the limited confines of the cinema screen to surface in the white cube or a museum wing? The currently very topical dialectic between art and animation already started long before the invention of film. From a media-archaeological perspective the history of animation appears concurrent with the origins of museology, or what Norman Klein has labelled ‘scripted spaces.’ Elaborating on Barbara Maria Stafford’s understanding of ‘devices of wonder’, the historical linkage between curiosity cabinets and optical toys suggests that the dispositif of the exhibition can be understood as a machine of vision in its own right. Within this larger framework, my paper will expand upon the exhibition The Plateau Efect (2005), attempting to demonstrate the significance of Joseph Plateau’s scientific legacy beyond his famous phenakisticope and situating his focus on what he considered the retinal image within his larger field of research. Directing in particular the attention towards his invention of the anorthoscope and its mathematically constructed images, it becomes clear that Plateau deserves his place as much in media history, as in film history. Responding to Tom Gunning’s acknowledged lack of a better term for what he describes as ‘technological images’ produced by the thaumatrope and anorthoscope, I want to argue for the notion of a ‘cinema of contraptions.’ As a variation on structuralist film and para-cinema terminologies (Walley), in the ‘cinema of contraptions’ the agency of a prototypical

interface is foregrounded and at the center of our attention. Such a method is typical for media-archaeological artists like, among many others, Ken Jacobs, Julien Maire, Zoe Beloff and Bruce McLure. J. R. Carpenter (University of the Arts, London) Whisper Wire: A Code Medium for Sending and Receiving Un-Homed Messages Through Haunted Media This paper puts forward haunted media as theory of mediation able to address contemporary networked writing practices communicated across and through multiple media, multiple iterations, multiple sites, and multiple times. Drawing upon Derrida’s invitation to consider the paradoxical state of the spectre, that of being/not-being, this paper considers the paradoxical state of long-distance communications networks which are both physical and digital, and which serve both as linguistic structures and modes of transmission and reception for computer-generated texts. These texts themselves are composed of source code and textual output. They are neither here nor there, but rather here and there, past and future, original and copy. The complex temporaility of this in-between state is further articulated through Galloway’s framing of the computer, not as an object, but rather as “a process or active threshold mediating between two states” (23). This theoretical framework for haunted media will be employed to discuss a webbased computer-generated text called Whisper Wire (Carpenter 2010). Whisper Wire 'haunts' the source-code of another computer-generated text, Nick Montfort's Taroko Gorge (2008), by replacing all of Montfort’s variables with new lists of words pertaining to sending and receiving strange sounds. Drawing upon Freud’s notion of the uncanny and heuristic research into Electronic Voice Phenomena, Whisper Wire will be framed as an unheimlich text - a code medium sending and receiving un-homed messages, verse fragments, strange sounds, disembodied voices, ghost whispers, distant wails and other intercepted, intuited or merely imagined attempts to communicate across vast distances through copper wires, telegraph cables, transistor radios and other haunted media. J. R. Carpenter (2010) Whisper Wire. http://luckysoap.com/generations/whisperwire Jacques Derrida (1994) Specters of Marx: The State of the Debt, the Work of Mourning and the New International. Peggy Kamuf, trans. NY & London: Routledge Sigmund Freud (2003 [1919]) The Uncanny. London: Penguin Classics Galloway, A. R. (2012) The Interface Efect. Cambridge: Polity Nick Montfort (2008) Taroko Gorge. http://nickm.com/poems/taroko_gorge.html Jeffery Sconce (2000) Haunted Media: Electronic Presence from Telegraphy to Television. Durham & London: Duke U. Press Oliver Carter (Birmingham City University) Fans as archivists: Community Curation of VHS. This paper explores how fans of cult film occupy the role of archivist in their capturing, preserving and sharing of VHS tapes. Often responding to the political and economic limitations of rights holders and other gatekeepers of cultural heritage, fan archivists are making materials available for access through online communities of practice. These communities are being formed to collectively seek out, capture, preserve and make accessible a range of popular cultural artefacts, with fans participating in what Andy Bennett (2009) describes as DIY preservationism”. Building on recent studies of fan archival practice, such as Abigail De Kosink (2012), Ken Garner (2012) my own research (Carter, 2013) I examine how fans of cult film assume the role of archivist as they digitise and share content taken from VHS tapes. Drawing on virtual ethnographic studies of fan constructed online archives and engagement with their participants. I demonstrate how such fan sites play a crucial role in the preserving the obsolete technology of VHS for future access and in so doing create rich and valuable archives that document the histories of the distribution and consumption of cult film. Bibliography Bennett, A. (2009) ‘Heritage rock’: Rock music, representation and heritage discourse. Poetics 37(5–6), 474–489. Carter, O. (2013) ‘Sharing All’Italiana. Riproduzione e distribuzione del genere I sui siti Torrent’ (English Title: Sharing All’Italiana - The Reproduction and Distribution of the giallo on Torrent File-Sharing Websites). In Braga, R. and Caruso, G. (Eds.) The Piracy Efect, Milan: Mimesis Cinergie, pp147-157. De Kosnik, A. (2012) ‘The Collector is the Pirate’. International Journal of Communication, 6. Available at: http://ijoc.org/ojs/index.php/ijoc/article/view/1222/718 [Accessed: 4 November 2012]. Garner, K. (2012) ‘Ripping the pith from the Peel: Institutional and Internet cultures of archiving pop music radio’. The Radio Journal – International Studies in Broadcast & Audio Media, 10(2), pp89-111 Alessandra Chiarini (University of Bologna) The Multiplicity of the Loop: Temporality, Repetition and Diference in the Animated GIF

Born in 1987, the animated GIF – or Graphics Interchange Format – is a digital format that allows the animation of a short series of images creating an endless pattern through the repetition of the same movement or visual transformation. The animated GIFs were employed in the 90s as a graphic design tool in the creation of websites. Now, after some years of quasi-oblivion, and in the age of proliferation of moving images on the Internet, we are unexpectedly witnessing a massive return of the GIF. In particular, the incessant and compelling repetition of a few frames, combined with the obsolete appeal and simplicity of this format, has brought web artists such as Flux Machine, Davidope or Stuck In The Loop to experiment with the GIF as a medium. These and other artists have already created a fascinating body of work meant to cause subtle communication fractures that can generate sudden suspensions of thought in the viewer. While the animated GIF can stimulate nonsensical effects or distorted meanings within the web, the “in between” and iterative condition that characterize these images can also produce more complex possibilities of reflection, especially about the notion of temporality. As still/moving sequences, the GIF works with the temporal tension that stems from the encounter between static and moving images, recalling, in a strange way, the hypnotic turn from stillness to movement and back of pre-cinematic optical toys. In the era of the “always-moving” and ubiquitous “post-cinematic” images, the compulsion to repetition and return of the animated GIF evokes a model of thinking that lead us to reassess the conceptual implications of the loop in time. Because of its reiterative and fragmented structure, the GIF brings to mind multiple ideas of loop: the most obvious one is the perception of the endless repetition of the same animation; the least obvious one refers to a concept of loop that – according to Thomas Elsaesser – implies the adoption of media-archaeological as well as historical perspectives. Strictly linked to a critical concept of obsolescence, this second notion of loop is based on a dialectics of repetition and difference able to suspend time. This allows us to problematize the logics of media progress based exclusively on evolutionism and linear chronology. The “looping” coexistence of a technological past (the pre-cinematic optical toys) and the digital present (the Internet) that constitutes the GIF suggests the impossibility of looking at a “post-cinematic” image without simultaneously looking at its “pre-cinematic” functioning. Alex Casper Cline (Anglia Ruskin) Towards a Methodology for Media Archaeological Excavation Michel Foucault, in his Archaeology of Knowledge, suggests that his method does not “relate analysis to geological excavation.” [1972, 148] Simultaneously, Media Archaeology, which draws heavily from the work of Foucault and from its subsquent expansion in the work of scholars such as Friedrich Kittler, tends to prioritise first and foremost archival work as a means to construct knowledge about media apparata. As opposed to historical research, which attempts to fit recovered material into a narrative framework, media archaeology priviliges recovered artefacts as points of departure for speculative synchronicities. In addition, Media Archaeological labs have sprung up, allowing for researchers to produce autopsies of various technical devices, allowing further knowledge of the specificities of their operations. Alongside the proliferation of so-called 'hackspaces' and 'fablabs', which proliferate technical literacy and encourage the recycling of informatic devices across the general population, and the discipline of platform studies, which calls for an increased consciousness of hardware specificities amongst media scholars, media archaeology has shown itself capable as a discipline of performing forensic and other laboratory work. Despite this progress, however, it seems that there is little 'excavation' in Media Archaeological practice. This results, quite clearly, from the fact that many technologies of previous centuries are still present amongst us, in the hands of collectors or museums of science and design, or less consciously, in warehouses and thrift stores. Since the widespread proliferation of technologies we call 'media' occurred after the birth of the museum and of archaeology as a discipline, many items have consciously been preserved rather than buried. As such, save for the recent excavation of poorly selling Atari games from the New Mexico Desert, it is difficult to think of any examples of Media Archaeological excavation. Yet could be argued that we lose something by not considering the notion of the archaeological site in media archaeology. Objects are disconnected from the places they are used, from the people that used them; they are valued or discarded according to human logics. More traditional archaeologists have critiqued this practice, calling for a symmetrical study of object and user as boundaries are thought, confused and rethought. There is little research in our own discipline to draw upon, but we can draw upon the experiences of Industrial and Contemporary archaeologists who struggled to work with proximate periods. It is perhaps possible also to draw upon material culture studies of the contemporary ruin and ethnographies of urban exploration for inspiration. This paper considers three possible media archaeological sites – the abandoned central post office in Brighton, the squatted London film processing center 'Colorama II' and the ruined hospital on Lido de Venezia. Each conceals a range of media

technologies, while also containing more subtle traces of larger institutional structures, abstract machines at play. It is worth asking: how can we develop such sites, rediscovering communities of technical objects, while developing at the same time our understanding of media archaeology. Teresa Cruz (Universidade Nova de Lisboa) Is there an arche-cinema? The Contribution of Paleolithic Heritage to Media Theory and Archaeology The representation of movement is usually viewed as a modern achievement, indeed as one of the central aspects of modernity itself. The understanding of the intrinsic modern character of the moving image has grown along with media archaeology studies about early cinema phenomena and various kinds of cinematic apparatuses of the XIX century. Digital technologies and the so called «post-media condition», on their turn, have brought about the debate about the end of cinema, allowing the archaeology of movies no more than a very short narrative. Contemporary thinking however offers two interesting counterarguments to this short life of cinema. On the one hand, the continuous growing of cinematic interfaces and aesthetics through digital media, as they push further and further all kinds of synthesis and animation. On the other hand, some extraordinary examples of pre-historical art (namely in Chauvet Cave and Côa Museum) seem to present us a kind of arche-cinema, by means of a schematic representation of movement questioning, among other things, a fundamental separation between the imaginary and the abstract works of consciousness. Is there a cinematic experience before and after cinema? The post-medium condition should take “archaeology” (one of its best succeeded methods) even more rigorously and allow us to look for the pre and post-history of our cultural techniques, independently of a specific medial determination. Following the interpretation of some archaeologists and rockart experts I will examine some dramatic examples of paleolithic art that allows to think of a truly primordial representation of movement parallel to the evidence of the abstract, symbolic quality of human thinking. But maybe this interpretation is only possible today, to a vision that has been shaped by cinema and by the analytic and synthetic power of digital operations. Zara Dinnen (University of Birmingham) Holograms as digital metaphor and material history At the 2012 Coachella festival, deceased rapper Tupac Shakur was resurrected as a simulated hologram. Holograms are 3D images first conceived in 1947. Early holographic images were described in terms of ‘scientific progress’; Sean Johnston notes that holographic ‘imagery was tied to still-mysterious lasers; […] created in sophisticated optical laboratories; and the characteristics of the hologram defied common sense. Holography evinced the future […]’ (“A Cultural History of the Hologram” 2008). Today, when immersive virtual environments and sophisticated 3D effects offer simulated 3D imagery at home, what is the relevance of holograms? Taking into account holograms on TV in the 90s show Wild Palms, holograms in music videos and live performance, and holograms in recent novels by Dave Eggers and Jonathan Lethem, this paper considers how a bygone scientific marvel might now function as a metaphorical gesture away from simulation and possibility, and toward the resistant matter of technological change. Given the potential for holographic data storage, and new developments in simulated holographic entertainment, this paper will question whether holograms might be both a material media history—come to pass in ways that push against previous narratives of technological progress—and a metaphor for some technological imaginary—perhaps always yet to appear. Tomas Dvorak (Academy of Sciences of the Czech Republic) Archaeology of the Statistical Diagram Statistical diagrams permeate contemporary cultures from expert academic and technical fields to the everyday. They are not representations, visual explanations, or arguments but need to be understood as cognitive extensions: they constitute psychodynamic prostheses that aid our orientation in sociocultural, economic, and psychological matters. Standing between sensory evidence and abstraction, between embodied affect and abstract concept, statistical diagrams play a crucial role in the ways normalistic structures of data are subjectivized, identified with, and radiate out into the core of subjectivity. In contemporary cultures, many mundane activities are accompanied by numerous and complex calculations, our environment is active in generating cognitive assistance to us on a routine basis. Visual diagrams constitute the most common interface of these devices tracing technical, biological, and social processes. In Laws of Imitation from 1890, Gabriel Tarde presented a fascinating account of the future of statistics, comparing it to a kind of a new sense organ. He envisions a time “when upon the accomplishment of every social event a figure will at once issue forth automatically, so to speak, to take its place on the statistical registers that will be continuously communicated to the public and spread pictorially by the daily press.” Once statistics reaches such finely-tuned calibration, we may be able to compare a statistical bureau to an eye or ear. Just like these senses, it will ease our

orientation by synthesizing collections of scattered homogeneous units, process them for us, and present us with a neat and molded result. To orient oneself in the changes of political opinion, for example, will be no different from recognizing a friend at a distance or avoiding an approaching car in a street. Tarde’s understanding of statistics was highly influenced by nineteenth century understanding of photography. Indeed, there is not that much difference between a statistical curve and a photograph since a camera is, in a sense, a measuring apparatus. Their histories are intertwined: it is in the first decades of the nineteenth century that statistical data began to be translated from numerical tables into graphs and diagrams. My paper will describe the family of technical and bureaucratic apparatus that appeared in the early nineteenth century (statistical graphics, photography, self-registering instruments such as the Watt indicator or the black box for trains invented by Charles Babbage) while combining the approaches of media archaeology and historical epistemology. Phil Ellis (Plymouth University) Reenacttv: 30 lines / 60 seconds Reenacttv: 30 lines / 60 seconds is a reenactment of John Logie Baird’s collaboration with the BBC in1930 to produce the UK’s first TV drama, the broadcast of Luigi Pirandello’s The Man with the Flower in his Mouth to less than 30 Baird televisors in the UK, Dublin and Porto. The work forms part of PhD research into early television experiments and interrogates the relationship between this early television technology (and its production process) and our high definition participatory culture. The work and research take media archaeological approaches (Huhtamo, Parrika, Ernst), interweaving materials from a variety of archives (BBC WAC, BFI, RTS, Malcolm and Iain Logie Baird) in seeking traces (Ricouer, Derrida) through the process of reenactment (Lutticken, Rushton, Dickinson), and exploring the possibilities of open audience dialogue (Brecht, Eco, Bishop). It acknowledges a remediating process throughout its fragments and materiality while also recognizing the circularity of mediating tools and their relationship to the production>audience dynamic. The reenactment is a live participatory artwork, allowing for the audience (the delegates of the conference) to interact with lines of the play, each for a segment of around 60 seconds duration. At the Kunsthalle, there were 21 participants who took part from the audience of the wider exhibition’s opening night. Each segment is filmed on a webcam in the performance space – the latter representing Baird’s small studio at 133 Long Acre, London. The webcam image is fed through software called Video2NBTV/NBTV Virtualcam which acts as a 30-line emulator producing a simulation of the 1930 image. This image is streamed via Wirecast and this stream is displayed on an Apple iPhone 4 in the performance space on its 5.08cm x 7.6cm screen (roughly the same dimensions as Baird’s original). Thomas Elsaesser (University of Amsterdam) Motion, Energy Entropy: Towards Another Archaeology of the Cinema For nearly one hundred years, we have been discussing the cinema primarily from the perspective of photography: organizing our questions and theories around iconic realism and the indexical-physical link that ties a photograph to that which it represents. In other words, we have considered the cinema as a primarily ocular dispositif, theorized either in terms of projection and transparency, or a recording dispositif, to be understood in terms of imprint and trace. However, photography, as a photo-chemical process, involving the registration of light on a sensitive surface, is a dying art, or at least it is an increasingly obsolete imaging technology. And if film-based photography has now been replaced or overtaken, by digital imaging technologies, then our ways of thinking about the cinema should also come in for a major revision. Otherwise we have to conclude that cinema, as some have indeed been claiming, has become a dead art. If a history of the cinema that relies almost exclusively on photography as its founding genealogy is no longer viable, then what might be needed is another ‘archaeology’ – to enable a different future: one that not only goes beyond the ‘death of cinema’, but also acknowledges the changing function of the moving image for our information society, our service industries, our memory cultures and our ‘creative industries’ more generally. Ludovica Fales (University of Udine) Archive reconfiguration, remediation and remix practices at the crossroads between contemporary art and

documentary filmmaking. The case of Youtube and CC licenses As a social plaftorm for memory, but also a place for remixing (Jussi Parikka), 'archive' has become a key concept for understanding digital media culture. In the process of sedimentation of media cultures the direction of modern media historiography is often short-circuited, in Foucauldian terms, by interferences in linear history reading. Some archival processes seem to be able to intercept these interferences in ways that include creative remix artistic processes. Archives as dynamic and temporal networks and media-technologically informed apparatuses can expose processes of history remediation in which memory becomes an issue of technical possibilities (Wolfgang Ernst). In this respect, I would like to investigate the changing relationship between past archival, ephemeral and amateur stored material, and current would-be DIY makers, in the way it has been transformed by Youtube's current evolution into a Creative Commons-based site. In the last 3 years around 4 million videos have been made available for remix and reuse on the platform, backed up by an automated attribution system, which would automatically credit the source material in any video that has been made by remixing CC material. The result of this transfomation is that suddenly forty years-worth of footage has become available on Youtube under CCBY licence, boosting remixing and reuse activities by further spreading the practice of content sharing. This opens interesting questions about the shift from individual memorymaking and sharing - as a movement from the individual to the peer group - as originally practiced on Youtube, to community ownership of the material and thus, potentially, of the memories themselves. Moreover, the question of what an archive is is also being transformed by the shift from 'storage' to 'creative palette' and by the spreadability and content sharing normalised by social media. Andreas Fickers (University of Luxemburg) Experimental media archaeology and the method of re-enactment Experimental media archaeology is inspired by the idea of historical re-enactment as a heuristic methodology. As an epistemological concept, re-enactment was introduced by the historian and philosopher of history R. Collingwood in his seminal study The Idea of History (1946). While Collingwood was interested in the informative role of reenactments in the historian’s mind in the construction of her historical imagination, I propose to expand this idea of “experiencing history” in doing historical re-enactments with media technologies in practice and not only as “Gedankenexperimente.” Inspired by the heuristic potential of doing re-enactments in the field of archaeology and history of science, the paper will discuss the theoretical and practical challenges of engaging with historical artefacts in an experimental setting. Practicing experimental media archaeology, I argue, can stimulate our sensorial appropriation of the past and thereby help to critically reflect the (hidden or non-verbalized) tacit knowledge that informs our engagement with media technologies. Doing experimental media archaeology is therefore a plea for a hands-on, earson, or an integral sensual approach towards media technologies. Victor Flores (Universidade Lusofona) The Opportunity for a Portuguese Stereo Archaeology The current interest in 3D immersive environments assures us that history is recursive and that the sensory challenges brought by stereoscopy during the 19th Century were again offered to the general public. This is one reason that allows us to distinguish stereoscopic photography as a relevant subject for media archaeology. The Portuguese research project 'Stereo Visual Culture' aims to contribute to the archaeology of Portuguese stereoscopic photography (public collections, authors, publishers, themes and techniques, distribution systems, critique and published discourses). The late emergence of photography archives (both local and national) and the recent creation of a few museums specialized in technical images enabled a sudden growth of the public collections of Portuguese stereoscopic photography. This new scenario that has enriched the archives by the end of the 20th Century is particularly revealing because it denounced the significant omission of stereoscopy in the historical studies of photography and in many institutional discourses and publications. Besides this recent and favorable conjuncture of the Portuguese public museums and archives — which has allowed the 'Stereo Visual Culture’ to identify over 28,000 stereo pairs in 41 public collections—, the archaeology of Portuguese stereoscopy can also benefit from the analysis of significant historical discourses that enthousiastically welcomed stereoscopy in several specialized journals on photography. Although these publications have been avaiable for longer decades in the National Libraries, they’ve remained almost unoticed and unremarked in the Portuguese studies of photography. This paper aims to characterize the reception of stereoscopy in Portugal through the discourses published in several specialized journals on photography. These publications help us to recognize what were the announced qualities and advantages of stereoscopy, and are quite resourceful to identify the beliefs adressed to this 'new technique’ regarding

its invention and, later, its suspension. It will be presented an analysis of the specialized journals on photography published in Portugal between 1869 and 1945 (respectively, the date of the first publication and approximate date of the last stereo photographs), in order to demonstrate how this new technology was received and announced to society and, in particular, to the early practitioners of photography. A special note will be made to the advertising that filled many pages of such publications: these were ads from the 'world of photography' (studios, cameras and technical material) that revealed the important role that topoi and rhetoric played as cultural discourses in the mediation of this new technical system. Alison Gazzard (IoE, University of London) Re-program, re-play, rewind: computer game magazine listing in 1980s Britain Born digital content, including computer games, have raised numerous issues and debates as to how we can and might preserve these artefacts for years to come (Lowood 2002, Newman 2012). Bit rot and digital decay are inevitable, therefore some of the original storage media for game content such as cassette tapes and floppy disks no longer exist. Although some games are preserved, other examples, including homebrew artefacts, may now be lost forever. Despite this, other related content such as magazine articles and books still remain, either in their original form or scanned by communities of users online. These “(para)texts” (Newman 2011) allow for a searchable archive of preserved content related to the games scene at the time. Similarly recent emulation efforts in order to preserve content also provide a means for people to engage with the original platform in a modified form on a more contemporary machine. Whilst debates about the materiality of the platform as opposed to emulation (see Newman 2012, Guins 2014) are valuable within the wider preservation debate, this paper looks at emulation and the availability of the archive in a different light. Using examples from 1980s British computing magazines and emulators such as BeebEm and Spectaculator (for the BBC Micro and ZX Spectrum respectively), this paper shows examples of re-creating program listings only available in printed form. Re-programming these listings exposes the disparity between the ‘fictional spaces’ conveyed through the elaborate imagery and backstories displayed in the magazine and the reality of the game executed through the typing of code. They also expose the other aspects of home game creation that were not always available via purchased storage media. The work that will be presented seeks to explore the spaces in between the combinations of code, object, and interaction (Lowood 2002) as magazine listings are ‘bought back to life’ through the emulation process. It will examine the role of the archive in exposing an “alternative history” of computer games through the lens of media archaeology (see Huhtamo 2011, Ernst 2013, Parikka 2012, Zielinski 1996) alongside an examination of program listings, microuser practices and homebrew game creation in 1980s Britain. In doing so this research acts as a starting point for thinking about the possibilities for emulation beyond the preserved games so often discussed, and how the use of such platforms can enable researchers and cultural institutions to expose other aspects of the computer game archive in new ways. Ernst, W. (2013) Digital Memory and the Archive. Parikka, J. (ed.). Minneapolis: University of Minnesota Press. Guins, R. (2014) Game After: A Cultural Study of the Video Game Afterlife. Massachusetts: MIT Press. Huhtamo, E. (2011). “Dismantling the fairy engine: Media archaeology as topos study”. In Huhtamo, E. & Parikka, J. (eds.). Media archaeology: Approaches, applications, and implications (27-47). Berkeley: University of California Press. Lowood, H. (2002) “Shall We play a game: thoughts on the computer game archive of the future” paper presented at BITS of CULTURE: New project linking the preservation and study of interactive media, Stanford University, 7th October 2002. Newman, J. (2011) “(Not) Playing Games: Player-Produced Walkthrough as Archival Documents of Digital Gameplay”. The International Journal of Digital Curation. 2 (6). 109-127. Newman, J. (2012). Best Before: Videogames, Supersession and Obsolescence. Abingdon: Routledge. Parikka, J. (2012) What is Media Archaeology? Cambridge: Polity Press Zielinski, S. (1996) ‘Media archaeology’, Ctheory, available at http://www.ctheory.net/articles.aspx?id=42 Paul Graves-Brown The Sex Pistols' Guitar Tuner When the Sex Pistols arrived at their Denmark Street rehearsal rooms in 1975, they inherited a number of items from the previous owners, Apple protégés Badfinger. Amongst these was a Peterson Model 400 stroboscopic tuner. Frequently used by their first engineer Dave Goodman to keep their instruments in perfect tune, this piece of material culture is one of a number of elements that offer the negative dialectic to the media myth that the Sex Pistols could not play.

Nick Hall (Royal Holloway) What is a “BBC camera”? Unearthing the tools and techniques of 1960s documentary filming In the 1960s, documentary filmmakers were liberated by newly portable film cameras and sound recording equipment. One result was a tidal wave of innovative location-filmed documentary television. Man Alive, Whicker’s World, Horizon, and Panorama were among the series to benefit from the opportunities afforded by new technologies and techniques, while ITV stations across the country also enthusiastically embraced new equipment and working practices. The significance of these programmes is well-documented, yet the precise circumstances of their production remain largely invisible in histories of television. Historians may refer to “16mm cameras” and “sync sound”, but such generic terms encompass a wide range of different cameras and techniques – each preferred for different production circumstances, each differing in availability from one television company to the next. The phrase “BBC cameras”, so often used as synecdoche in the popular press, is a seductive mask for the complexity of television production. While familiar forms of paper-based and oral historical research can begin to fill some of the gaps in what we know about how television is made, there is urgent work to be done in relation to the history of 1960s television location filming. Many of the men and women who worked in the production of such programmes are now very elderly, or no longer alive. Without action now, some of the most basic knowledge of equipment and techniques from a period as recent as the 1960s may slip beyond living memory and be lost forever. Based on new archival research within the archives of Westward Television and the BBC, this paper discusses the lengths to which historians can and should now go in order to understand production practices, techniques and technologies dating from the 1960s. The paper also highlights the innovative efforts of the ADAPT project to film reconstructions of old technologies and techniques in use. This living form of media archaeology raises its own questions and methodological concerns, which this paper will address. Michelle Henning (University of Brighton) Museums, Media Archaeology and the Image This paper builds on my research for my recent edited collection Museum Media, to summarise the different mediaarchaeological approaches that have been taken in relation to museums. In particular I am interested in the various ways in which theorists such as Friedrich Kittler, Wolfgang Ernst, Erkki Huhtamo, (and others) conceive of museums in relation to (and in distinction to) electronic media, and conceive of the practice of media archaeology in relation to museum studies. This question of how media archaeology understands the museum will be the subject of the first part of the paper. The second part of the paper takes the example of the photographic image and its circulation both within and outside museums to demonstrate another possible media archaeological approach to museums and / as media, building on Foucault's notion of the free-play of images and on Hans Belting's understanding of images as nomadic. I propose a version of media archaeology that is based in a less rigid conception of historical and technical change. This kind of analysis treats media as bodily and images as embodied and material, but emphasises the importance of radical mobility and circulation in the history of museum media. Rebecca Hernandez-Gerber (New York University) Gotta Catch ‘Em All? Video Game Preservation and Variant Forms My proposal is that of an individual paper regarding the challenges of variant forms within video game archiving and preservation. During my two years at New York University’s Master’s program in Moving Image Archiving and Preservation, I have focused on video game preservation from the perspective of both code and surface qualities to determine differences between variants. It was difficult to reconcile the reality of software, where branching and variant forms is the standard of creation, with traditional audiovisual archiving and its seeming fixation on the authenticity of a source text. My solution was to create a written thesis that discards authenticity as that of a source text but instead as a range of significant properties that is highly dependent upon whether an institution considers the video game as audiovisual artifact or as source code. To meet this difficulty, my paper proposes a new framework for institutions managing these digital artifacts that focuses on variant forms as the centerpiece of this media. It includes a step-by-step process by which an institution can consider their own definition of video games, the types of alterations that exist between variants, and how to determine what alterations result in video games that remain within the collecting scope of the institution. To better demonstrate this framework, two case studies of video games within the Pokémon franchise were introduced so that the framework’s use in both artifact-based and code-based institutions could be discussed.

It is my hope that this paper will bring to light the unique possibilities of authenticity if a changeable form as well as bring the archaeology of source code to the forefront for future study of video games. Through these methods, media museums and archives can truly collect the meaning in these works rather than fixate on the surface qualities that are only the final step in the internal processes of these artifacts. Moritz Hiller (Humboldt Universität Berlin) Towards a Philology of Code With the emergence of digital media in the 20th century, it is particularly one phenomenon that prescribes and controls most of today's cultures: source code, the textual representation of a computer program. In the light of the possibility of future historiographies – and especially on the occasion of an edition of Friedrich Kittlerr̕s complete works that is going to include his computer programs – techniques of preserving and transmitting this textual phenomenon are required. Textual studies traditionally took care of these tasks. But since their basic concepts and methods are mostly pre-digital, we need to ask ourselves, whether they can still help with the philological challenge of editing source codes. The paper will therefore raise a basic question: What is, in terms of textual studies, the text of a source code? Vanina Hofman, Natàlia Cantó Milà, Pau Alsina (Open University of Catalonia) Digging into the remains of the invisible avant-garde Media Archaeology can be seen as a frame of thought to investigate the past and provide a place to divergent histories of media. Media archaeologists situate themselves in those creative moments when different initiatives and paths of media development were flourishing. Some of them have just disappeared from the narrative of Media History, which is mainly based on market's most successful (meaning predominant) technologies. However, digging into the forgotten or neglected past of media occurrences is more than finding lost links or deviant routes in a linear chain of History. It is about a shift in the way we conceive research on media and at the same time a way to reconceptualise the relation among time, matter, space and history. On top of the forgotten media developments (objects-inventions), media archaeologists have looked at other heterogeneous characteristics and conditions omitted in previous histories: creators (as individuals), "peripheral" geopolitical zones, cosmovisions of non-occidental cultures, and the material dimension of media. Wolfgang Ernst, for instance, considered that objects were the ones overlooked in media narratives and he advocates for the inclusion of concepts like "true media memory" or "machines agency". In his media "archaeography" he seeks to complement the narrative point of view of history with the material approach of archaeology. For Erkki Huhtamo, recurrences are the forgotten elements in the linear thinking of media development. He has explored (and also collected) devices of early audiovisual culture and introduced the concept of "topoi" to analyse the reappearance (with variations) of specific manifestations along time and cultures. Sigfried Zielinksi's with his "variantology", focuses on those geo-political zones systematically disregarded by the hegemonic history of media. As a result many conceptions of technology and their respective developments have been ignored or fall into oblivion. Using a lens that combines the approach to objects as active co-constructors of reality (machines agency), the understanding of development as a non-linear or teleological movement (topoi), and the capacity to zoom-in in different spaces (variantology), the present paper will examine the process of recovery and enhancement of the "Feria de América" [American Fair] coordinated by Wustavo Quiroga, and some of the works exhibited therein. The American Fair was the first industrial exhibition in Latin America, and it took place in Mendoza, Argentina, in 1954. Quiroga’s research sustains that the fair worked as a lab where the regional culture avant-garde of the time unleashed and channelized their creative thinking and expression. A mixture of political reasons, lack of recognition and material preservation problems led pioneer media installations presented during the Fair such as the "Torre de América", to silently disappear both as objects but also as historical narrations. In mid nineties, Quiroga and his team started a research, that seven years later brought up in the surface people, works and practices that have been dialoguing from the shadow with the current state of arts, design and media in Argentina. Stories those were transmitted in the collective memory of particular groups and embedded in relics, when some people took the initiative to write and preserve them. Tania Hron, Sandrina Khaled (Humboldt Universität Berlin) Friedrich Kittler’s Collected Works

The talk introduces the outline of the collected edition. Friedrich Kittler’s Collected Works comprise three sections: Writings, Voices, Hardware and Software. The section ‘Writings’ covers all books and papers published in Friedrich Kittler’s lifetime, as well as unpublished texts from his literary estate. The section ‘Voices’ collects his oral performances, aiming at providing a scholarly digital edition on an internet platform. The section ‘Hardware and Software’ edits Kittler’s source code and circuits. The talk points out how German media theory emerged from literary history to constitute media history as part and parcel of cultural studies (Kulturwissenschaft). Kittler’s broad horizon and attention to detail will be presented by examples from early writings brought from the German archive for literature, the Deutsches Literaturarchiv Marbach. Mark McKenna (University of Sunderland) Reconfiguring the ‘Merchants of Menace’ In 1984 the introduction of Video Recordings Act (VRA) ushered in an era of state sanctioned censorship in Britain that continues to this day. The Act criminalized the sale and rental of those videos distributed without an official ‘certificate’—one that would henceforth be provided by British Board of Film Classification. In the years since the introduction of the VRA much has been written about the ‘video nasties’, with the majority of this work favouring issues of censorship and discussions of moral panics and the media effects debates that have tended to accompany the introduction of any new technology. Early British video distributors have often been portrayed as comic book villains: ‘merchants of menace’ out to capitalize on ‘the rape of our children’s minds’. Thus far, little attention has been paid to the industrial processes of the independent video industry that began in the shadow of censorship and fulfilled a market need not being met by major distributors of period. This paper will introduce elements of my research into one of the most successful of the ‘video nasty’ distributors, VIPCO. I will examine the processes involved in the marketing and distribution of controversial products in a British context, and discuss the market that has subsequently developed in the wake of the VRA. John Mercer (Birmingham City University) What Gets Left Behind: VHS and Archives of Sexual Representations Oliver Carter and John Mercer from Birmingham City University and Sharif Mowlabocus from the University of Sussex have acquired the personal video and film archive of an important anti censorship activist who was the founder of a campaigning group during the 1960s, 70s and 80s. This is a very particular type of archive in that the texts are ostensibly gay male pornographic materials. Plans are now in place to make the archive available for scholarly use. This is an extremely important resource for anyone interested in British attitudes and wider debates around sexual representation, the definition of obscenity and the anti-censorship campaigns of the 1960s, 70s and 80s. It not only provides documentary evidence of some of the specific materials that anti-censorship activists were concerned with defending (especially as they relate to the status of homosexuality during the period) but also acts as a valuable historical document of the private practices of collecting and curating materials deemed obscene in wider culture and the restrictive and clandestine contexts in which such activities out of necessity were transacted. The work of making this very private archive accessible as a resource for researchers presents a number of issues relating to censorship and self censorship, ethical conduct and the potentials and pitfalls of archives of sexual representations. In this paper, we will outline some of the issues that are at stake and explore the distinctions and contradictions of the public and the private when thinking about this kind of material. Lise Kapper, Christian Hviid Mortensen (Mediemuseet/Odense Bys Museer) Hacking the collection: The creative destruction of deaccessioned museum objects Many museums abide by the convention of ‘do not touch!’ in regard to their collections. Media technologies are thus displayed behind glass as “black boxes” revealing only the design of their surface, which is often their least significant feature. What if visitors were allowed to split open the mahogany and Bakelite cases of vintage radios and telephones? What would they learn upon discovering the intestines of these media technologies? Perhaps even reassembling these technologies in new constellations through creative destruction?

This paper presents findings from a recent Hackathon event at the Media Museum in Odense, Denmark. Here deaccessioned objects from the museum’s collection were hacked and reassembled into new interactive installations by an interaction designer and his team of young boys with an affinity for electronics. The museums role as facilitator of participatory processes is discussed both in relation to the touted ideals of the participatory museum and the actual outcome of the project. We argue that the creative destruction of museum objects offers participants a unique opportunity for tangible experiences resulting in diverse kinds of learning. Including visitors as co-creators of the museum experience in this way creates a deeper and more meaningful relationship between the participants and the museum. Building on the interest in the practice of modding, such an event offers the museum an opportunity to reach out to a specialist community and take advantage of their skills and knowledge in creating new exhibition content for the benefit of regular museum visitors. We propose that such a practice can create new value for the museum, analogous with the process of creative destruction proposed by economist Joseph Schumpeter where the old economic structure is destroyed to make room for a new one. Niels Kerssens (University of Amsterdam) Beyond the Engine: Toward an Archaeology of Online Searching The search engine is the everyday information technology for us all and manages all that precisely by having fully permeated the routines and practices of our everyday lives. In the last two decades we have embraced the power of algorithms to search efficiently through massive volumes of data and have accepted the practice of using engines as the best way to find and retrieve information. In effect, everyday human ‘ways of knowing’ have become enmeshed with computational ‘ways of knowing’, with the engine constituting a machine that conditions the possibility for knowledge and knowing in itself. With this knowledge machine increasingly pervading life, the question ‘how do humans know with the use of engines for searching?’ becomes one that is all the more pressing. To answer this question this paper argues that is it crucial that we literally ‘think through software’ (and beyond software studies) and study the processes of problematization and formalization of which software is the highly prized outcome. This means that we have to account for software’s archaeological substrate, and study the systems of thought of (software) engineering as they emerged against the backdrop of contingent social and political conditions. In the particular case of online searching this would direct our attention to the field of information retrieval, in particular to how and why, and under what particular circumstances, this field transformed the given situation of an information crisis into a question of information retrieval in the early 1950s. The information crisis was the result of the enormous research effort of WOII, and in response a group of scientists, mainly mathematicians, took interest in automating the search for information with ideally not the human (librarian) but the machine being key in the process of searching. These scientists came to focus on the problem of coding information to enable machine-searching and conceptualized search as a problem of retrieval. With the latter term they emphasized the importance of studying the discovery process of information stored in a large collection as separate from studying the twin issues of indexing and classification that had been key in library science for decades. Importantly, while increasingly influenced by the affordances of computers, information retrieval scholars problematized the retrieval of information in terms of efficiency and engineered search as a computable operation of sorting information by calculation of relevance. With the creation of formal mathematical models IR scholars described retrieval systems using mathematical concepts and language thereby recasting human affairs in mathematical terms for purposes of implementation on computers. With the information search engineered as a computer-driven efficiency operation aimed at maximizing retrieval performance while minimizing the time spend searching, IR positioned human activity at the margins of the system, that is, the process of search instead of retrieval. Aleksander Loesch (University of Sheffield / BFI) Optical Drawing Aids This proposal a development upon the author’s final research project for their undergraduate thesis in archaeology. It seeks to establish a case for promoting an resource that is currently undervalued in contemporary archaeological academia - that of the history and prevalence of use of optical drawing aids (namely the camera obscura and camera lucida), as a tool for observation, recording and the dissemination of knowledge. Although there has been a steady increase in scholarship regarding from an art-historical perspective in recent years, such research falls short in connecting the use of optical drawing instruments in visual arts, to a greater context and

role that such instruments played in society, particularly from the Age of Enlightenment to the early 20th Century. The history of these instruments are directly linked to the development of photography and other image-capturing processes. The technology of the camera obscura is what was later developed into the photographic camera. Likewise, the camera lucida was used to reproduce microscopic images, and was instrumental in the development of photomicrography. Studying how society perceived and interacted with the predecessors to photographic technology, also informs us about subsequent technology. This paper aims to link together currently separate strands in scholarship, to develop a holistic understanding of optical drawing instruments in arts, science and society. Photography has since become a common method of documentation and more recently has become the focus of dedicated research; such as in aerial photographic survey in archaeology. To understand the history, science and context of the optical drawing aids, is to further our knowledge and understanding of photography in archaeology, and of the development of photography’s place in society. The paper shall discuss some of the research that the author has undertaken, discussing what is relevant and available in archives (such as the works of Edward Dodwell and Simon Pomardi). It shall explore how such material may be utilised and compared to contemporary data, to inform us in new ways about the past. An experimental approach will also be discussed; detailing how the author has sort to establish to what extent the user maintains subjective interpretation of a drawn subject in their finished work. This will be illustrated with two sets of examples: • •

Firstly, comparative analysis of historical illustrations of archaeological sites and landscapes drawn using a camera obscura, to modern architectural plans. Secondly, through the author’s study into the effectiveness and accuracy of the camera lucida, having asked a series of volunteer participants to sketch a University of Sheffield building.

Approaching the subject from an archaeological perspective is especially fitting, not only as many artists, architects, and archaeologists utilised optical drawing instruments in their work, but archaeology commonly relies on interdisciplinary approaches to establish accepted understandings of the past. Adopting such a method results in it being much easier to establish connections between art history, the history of science and ever-changing notions of perception and ways of seeing in society. To conclude, here are two instruments whose history links archaeology with scientific and artistic disciplines. Through studying their history and use, we can inform ourselves about how we, even now, see and interpret the world around us. Not only have optical drawing aids helped to produce accurately documented sites from across the globe from the pre-photographic era, the study of their use may inform us about the nature of perception and memory. Louisa Minkin, Ian Dawson (Central St. Martins) Grave Goods William Gibson once remarked that what distinguishes human beings from animals is the externalization of memory. Whales, he said, don’t carve their songs in coral. Coral, itself a supple sub-aqua organism, petrifies when it surfaces, its pinkness leeched from the blood of Medusa’s severed head. These dual movements of liquidity and petrifaction characterize ways in which knowledge is distributed and stored. The diffuse, Lucretian shedding of skins and films of image as emanation, and the mute immanence of the concrete embedding of object as fossil. The projects we will describe were initiated collaboratively between artists and archaeologists. Together with the Archaeological Computing Research Group and the Centre for the Archaeology of Human Origins at the University of Southampton we have been looking at ways to exchange practice and develop innovative ways of working with new visualization technologies. Techniques such as high-resolution data capture, photogrammetry, reflectance transformation imaging and 3D printing represent a new era in digital imaging. As these technologies have become increasingly affordable they are taking a more significant role in art practice. As artists working in art school with a diverse and ahistorical set of imaging technologies, we were curious about how to better understand recently acquired 3D scanning and printing equipment. We began unpicking some historical precedents including an ancestor of 3D fabrication technology: a device from 1863 for turning photographs into sculpture. It provided a genealogy not for the moving image but for the information model. As a collective of students and staff we figured out how to hack and build a bastard apparatus. In so doing we found that we were generating

paradata: exploring the systems of the institution, the building of discipline and the vectors of control. Our most recent collaboration has been to apply these new technologies to some very old technical objects: carved neolithic artefacts, some of the earliest pre-epistemological objects whose very inscrutability could let us characterize them as a prehistoric black box. We have both scanned and re-carved them, processes that serve to emphasise the status of the objects as skeuomorphs, and, in turn, reminding us that recursion is at the heart of the methodology of remaking and re-enactment we have sought to establish as an educational tactic. We think of the process as a kind of material historiography with energies aimed very much at the future. Christian Hviid Mortensen (University of Southern Denmark) Beyond nostalgia: retro-gaming and vintage computing in the museum Retro culture in general is often criticised for its ahistorical and aestheticized assembling of the past into a bricolage. Further nostalgia, which is a prevalent attitude in the domains of retro-gaming and vintage computing, is criticised for sustaining an unreflective romanticising view of the past. Thus the phenomena of retro-gaming and vintage computing can seem unfit for museums as arbiters of History. However, what if the emotional appeal of nostalgia could be harnessed and the romanticised view of the past simultaneously tempered with a more reflective approach? Sociologist Fred Davis distinguishes between simple, reflective and interpretative forms of nostalgia. Further Svetlana Boym and others stress the creative potential of a reflective nostalgic approach. This paper presents findings from a recent exhibition project on retro-gaming at the Media Museum in Odense, Denmark. Here different forms of nostalgia were in play. The exhibition was developed in cooperation with a team of young 8 bit music enthusiasts and thus represents a contemporary creative appropriation of nostalgia for retro-games contextualising the simple nostalgia elicited by the displayed artefacts of vintage computing Based on the notion of reflective nostalgia and its creative potential we argue that a reflective nostalgic approach can foster a creative practice that counteracts rather the replicates the romanticising view of the past evident in simple nostalgia. Further, while a simple nostalgic approach caters to the adult audience, a creative approach can better engage with the 2nd generation of younger visitors with limited or no living memory of the infancy of computer gaming by making the past relevant to their present. Simone Natale (Humboldt Universität Berlin) From the Train Efect to War of the Worlds: An Archaeology of Media, Anecdotes and Storytelling As social anthropologists such as Armin Appadurai (1986) and Alfred Gell (1998) have shown, not only humans, but also artifacts can be regarded as social agents. Things, like people, have social lives, and their meaning is continually negotiated within a process that entail technological changes as well as the way they are inserted within social relations (Edwars, 2002). Working within the same framework, Igor Kopytoff argues that things have their own biographies as well, according to which their status and reception is established within different societies and culture. Reconstructing the circumstance of creations of these biographies, he notes, “can make salient what might otherwise remain obscure” (Kopytoff, 1986: 67). My paper will argue that media -as artifacts, cultural constructs and social agents- have their own biographies as well. I will show that studying how such biographies are created and told may help us to comprehend how media are received and inserted within society and culture. The paper will focus on a comparative examination of the myth of the panicking audiences of early cinema (the so-called “train effect”) and of Orson Welles’ War of the Worlds radio broadcast. By examining how these became veritable “founding myths” for cinema and broadcasting respectively, I will show that anecdotes contribute to shape the way media technologies and practices are represented and imagined within the public sphere. In order to explain their role, I will refer to literary studies that tackle biographies and autobiographies as narrative forms. In the biographic genre, anecdotes have a twofold role. On the one hand, they add to the narrative character of the genre, which despite being non-fictional strongly relies on storytelling. On the other hand, they contribute to enforce certain claims about the person who is the subject of the biographical sketch; they embody, in other words, certain representations of the person’s character, e.g. her temperament, personality, and skills. If anecdotes in biographies carry such representations of individuals, media anecdotes play a similar role in the history of media. Turning a particular representations of the power of media into storytelling, anecdotes of the panicking audiences reverberated in popular discourses as well as in historical reports about the rise of cinema and broadcasting. What made them so persistent and influential has been precisely their narrative character, the easiness

through which they convert cultural discourses on the power of technology into a tale that is easily remembered and can be told again and again. By unveiling how anecdotes of the panicking audience became a founding myth of cinema and broadcasting and played a paramount role in the construction of their biographies, this paper proposes an archaeological approach to media anecdotes and storytelling. It aims to show that studying how biographies of media emerge and how they affect the reception and cultural history of a given technology may provide a very important contribution to the field of media archaeology. Cassie Newland (King’s College London) Scrambled Messages In this case study I will discuss Animal, vegetable, mineral, an archaeological take on the materials of the telegraph and the abstraction of telegraphic technologies, which forms part of the interdisciplinary, AHRC-funded Scrambled Messages project. Panagiota Betty Nigianni (University of Southampton) Afective Networks The paper will examine examples of contemporary new media projects, which employ networked technologies for (self)-mediations. Different modes of employment of networked technologies (in net art, games, interactive media, and social networks) will be analysed in terms of how they extend processes of (self)-identifications; beyond the Cartesian “disconnected, character-less, disembodied, dis-enchanted, and disaffected” subject (Colebrook, 2014) of virtual reality, but in formations of new ethical paradigms of affective relationality, which is essentially “socialised, embodied and localised” (Latour, 2004). The paper will focus on the exploit of new experiences of temporality, such as liveness and simultaneity, by networked technologies, for (self)-mediations in affective orientation: towards, or away from, virtual objects, which stand for affective points of inattentive and embodied perceptions (Packer & Wiley, 2012; Candlin & Guins, 2008). The paper will discuss whether new forms of relationality (Kember and Zylinska, 2012), fostered by this reconceptualization of spatiotemporal affective orientation and positionality, may inspire new forms of (self)-identifications (Jones, 2006; Harrell, 2013). Concentrating on the role of time in processes of identity formation and relationality, the paper essentially draws more on a phenomenologico - affective, rather than a biopolitical conceptualisation of life (Thacker, 2010). However, taking into consideration the sociocultural underpinnings of affects, as active cognitions (Clough & Halley, 2007) and intentional orientations (Ahmed, 2004), the paper acknowledges that networked experiences can become selfregulating and self-organising phenomena: for instance, phenomena of “interaction when the network logic takes over […] the moments that are most disorienting, the most threatening to the integrity of the human ego” (Galloway & Thacker, 2007: 5); as well as phenomena of unequal distribution of power (Castells, 2009; Galloway & Thacker, 2007). In this context, the paper will problematise the potential of networked systems to foster radical change, despite enabling open-ended and unstable interactivity (Parikka, 2007), or connectivity outside of localities (Rainie & Wellman, 2012). The paper addresses the conference’s themes of remediation and media ecology by focusing on the generative potential of mediation and of media environments (Kember and Zylinska, 2012). It also adopts a non-determinist media studies approach, which opposes the anthropomorphism of technology – technology does this, or does that (Galloway & Thacker, 2007; Parikka, 2010) – and a pure psychologism – the internet is a psychological technology (Turkle, 1996; Illouz, 2007; Power & Kirwan, 2014). Ahmed, Sara, 2006. Queer Phenomenology: Orientations, Objects, Others. Durham: Duke University Press. Colebrook, Claire, 2014. Sex After Life: Essays on Extinction, Volume 2. Ann Arbor, Michigan: Open Humanities Press. Bolter, Jay and Grusin, Richard, 2000. Remediation: Understanding New Media. Cambridge, MA, London: MIT Press. Candlin, Fiona and Guins, Raiford, 2008. The Object Reader. London: Routledge. Castells, Manuel, 2009. Communication Power. Oxford: Oxford University Press. Clough, Patricia and Halley, Jean, 2007. The Afective Turn: Theorising the Social. Durham: Duke University Press. Jones, Amelia, 2006. Self/Image: Technology, Representation, and the Contemporary Subject. London and New York: Routledge. Galloway, Alexander, 2010. “Networks”. In Hansen, Mark and Mitchell, W.J.T. (eds) Critical Terms for Media Studies. Chicago: The University of Chicago Press. Galloway, Alexander and Thacker, Eugene, 2007. The Exploit: A Theory of Networks. Minneapolis, London: University of Minnesota Press. Illouz, Eva, 2007. Cold Intimacies: The Making of Emotional Capitalism. Cambridge: Polity Press.

Harrell, Fox, 2013. Phantasmal Media: An Approach to Imagination, Computation and Expression, Cambridge, MA, London: MIT Press. Kember, Sarah and Zylinska, Joanna, 2012. Life After New Media: Mediation as Vital Process. Cambridge, MA, London: MIT Press. Latour, Bruno, “There is no Information, only Transformation”. In Geert Lovink, 2002. Uncanny Networks. Cambridge, MA, London: MIT Press. Packer, Jeremy and Wiley, Stephen, 2012. Communication Matters: Materialist Approaches to Media, Mobility and Networks. London and New York: Routledge. Parikka, Jussi, 2007. Digital Contagions: A Media Archaeology of Computer Viruses. New York: Peter Lang Publishing. Parikka, Jussi, 2010. Insect Media: An Archaeology of Animals and Technology. Minneapolis: University of Minnesota Press. Power, Andrew and Kirwan, Grainne, 2014. Cyberpsychology and New Media. New York: Psychology Press, 2014 Rainie, Lee and Wellman, Barry. Networked. The MIT Press, 2012. Thacker, Eugene, 2010. After Life. Chicago: University of Chicago Press. Turkle, Sherry, 1996. Life on the Screen: Identity in the Age of the Internet. London: Weidenfeld & Nicolson. Lisa Parolo (University of Udine) Continuities and discontinuities in the archivist's practice. The case of Looking for listening by Michele Sambin Nowadays the fact that the oeuvre of an artist can be shown online and can be accessible from anyone is something that has become possible and desirable; project like Europeana, in the last years, are trying to collect on web platforms all digitized artwork of museum and institutions, in order to spread and democratize the knowledge of, but not only, art history. But when it comes to organizing on a web platform, or simply preserving and giving accessibility to the time-based and process-oriented artworks which was called Media Art, it becomes a big issue for the archivist to understand how and in which form this has to be done. This is not only related to the problem that Media Art, when concerning time-based parts like film and video, is subject to obsolescence and needs continuous remediation with the risk of loosing part of the “message” or of the “experience” of the art work. It is also related to the fact that Media Art works often find theirselves organized in complex aggregates, they are often site-specific, interactive and performancebased, all characteristics that show the ephemerality and the variability of this specific art works. To tackle this problem, the duty of an archivist of the motion (in an expanded meaning, in the sense of Eivind Roosaak) will not only be the passive preservation and organization of the remains, but also the construction, preservation and organization of documents where continuities and discontinuities of the art work have to be analyzed in time. In this way, the preservation and classification of Media Art has to start from a practice-based activity, founded on casestudies and needs to follow the moments in which the Media Art work is shown, as well as the moment in which returns into a state of hiding. This part of the panel will take in to consideration a specific video musical performance – exhibited also as an installation - which is called Looking for listening (1977) by artist Michele Sambin and it will look at the practices used to preserve and give accessibility – and visibility - to it. Rodrigo Tavarela Peixoto, Filipe Costa Luz (Universidade Lusofona) Searching for the Awe Efect: From 19th century Stereoscopic Photography to 21st century Digital Visual Efects, an investigation on the remediation of the spectacular The erasure of stereoscopic photography from 20th century media history (referred by authors such as Crary and Gunning), had repercussions in other fields. In the main bibliography of visual effects history there are no references to this medium. Computer-generated effects are addressed as a remediation of analogue techniques in motion pictures, such as the “glass shots” of Norman O. Dawn in Missions of California (1907), the double exposures of Mélies and Edwin S. Porter, or the model animations of Willis O'Brien, among others. However, it ignores stereoscopic compositions using transparencies from 1860, which could be looked upon as direct predecessors of modern spectacular effects in cinema and television. It was possible, through access to various Portuguese collections of stereoscopic photography consulted in the research project Stereo Visual Culture (PTDC/IVC-COM/5223/2012, stereovisualculture.ulusofona.pt), to identify several stereo photos that use transparency effects and manipulation, by cutting or puncturing the photographic paper, to create a spectacular effect. This analogue image manipulation is the basic concept for many compositions in digital cinema. In this article we will investigate the remediation of this feeling of admiration and wonder, present in these early manipulations, as it is in state of the art 21st century visual effects. We shall also address the importance of the stereo apparatus in the spectator response to visual effects, hoping to comprehend if, how, and to what extent, does the device influence the emotional response and the immersive effect.

Along with the bibliographic research, we´ll be inquiring a sample of graduate students of Film, Photography and Animation courses, extremely familiarized with visual effects. As an object of study, we selected 6 stereoscopic photographs captured between 1880 and 1900 (identified and catalogued by the Stereo Visual Culture research project), and 4 photos Diableries (Series A) dated 1860-1870 (from a private collection). The original photographs were analyzed on a Holmes Stereo Viewer. Then they were reproduced in studio, using a DSLR camera (Canon 5D). After a minimal post-production (only to adapt the photographs to 3D TV), they will be displayed in a 3D screen, and observed with 3D polarized glasses by the sample group. Next, we will ask these students to visualize the same images, but now using the stereo viewer and the original analogue images. All the students will be interviewed. Through the interviews, we will try to evaluate how these young students react to a 19th century stereo photography reproduction, shown in a displaying device they are familiar with and using a 19th century technological apparatus, in order to understand how they categorize the sensation and which experience they consider more spectacular. By comparing the two ways of image displaying we hope to understand if the digital 3d television can be used in a satisfactory way to access, appreciate and investigate stereo photography archives. We will try to understand whether the technological improvement has added any emotional gain to the spectator response to visual effects, or if the awe response remains the same. Sara Perry & Colleen Morgan (University of York) Toward a Productive Synergy With Media Archaeologies Archaeologists have been innovators, critical interrogators, and remakers of media for 500 years. This legacy is used for wider social theorising and for pioneering applications of new media. We trace the entanglement between media and archaeologies and ask, can there be a productive synergy between archaeological analyses and media archaeologies? Ido Ramati (University of Jerusalem) An Archaeology of Hebrew Sound Recordings The proposed paper explores early Hebrew sound recordings from the perspective of Media Archaeology. The presentation will focus on the transition from cantillation signs, the traditional Jewish system of encoding sounds, to the first Hebrew phonograph recordings at the beginning of the 20th century. Each method is a specific mechanism for preserving sounds; comparing and analyzing their underlying logic allows one to sketch the musical environment they created. In the Jewish tradition, the cantillation signs that accompany the biblical text, serve as a system that directs the reader how to perform the text liturgically: where to place the stress (phonetics), how to punctuate the text (syntax), and in which melody to read the scriptural text (music). The written signs were originally formed as a unified system, which was adopted by all Jewish communities after the 10th century. However, their oral interpretation eventually varied from one community to another, giving rise to a whole range of local oral variants. Thus, on the verge of modernity, the cantillation signs were the only acceptable method for taking down Jewish liturgical music even if their actualization sounded differently in various places. In 1905 Abraham Zvi Idelshon, a German educated ethnomusicologist, moved to Ottoman Palestine. There he encountered the sounds of eastern communities, and especially those of Yemenite Jews, which were very different from the ones he knew from the European Jewry. In 1909 he began recording the enactment of the old Jewish technique for preserving music with a new technology–the phonograph. In this project Idelsohn combined the two methods into one layered archive of sounds. The indexical nature of phonograph recordings facilitated this intersection: Idelsohn recorded analogically the decoding of symbols that were used for centuries to encode liturgical music. In this sense, he archived, on wax cylinders, the performance of deciphering a longstanding written archive. This modernist project of documentation was triggered by the discovery of what Idelsohn had considered as the authentic Hebrew music. In recording the Jewish-Yemenite chanting, Idelsohn believed he was capturing—and thus preserving—an echo of Hebrew from antiquity. A scholarly debate was later conducted whether such traditional Jewish music was truly a manifestation of antique sounds or just a belief of a Romantic Orientalist. However, even if this is the case, Idelsohn’s conception is worthy of

investigation since it led to the creation of modern music, that mixed sounds typical of both East and West, as part of the development of modern Hebrew culture. In the suggested presentation, I wish to uncover an aspect of the emergence of a new musical trend from the traditional Jewish music, derived by Idelsohn’s recordings. The accumulation of recordings that inscribed the ancient traditions on wax cylinders shifted the method of documenting the musical performance from a written system of signs, which functioned as a script for an oral enactment, to audio recordings of reading and chanting of the holy text. As a result it also initiated the creation of a modern form of music that is unique to modern Hebrew culture. Andrew Reinhard (American School of Classical Studies at Athens, Princeton, N.J.) How We Dug the Atari Burial Ground History's first archaeological excavation of video games occurred on April 26, 2014, in Alamogordo, New Mexico, USA. Three archaeologists and a video game historian dug and documented the rumored Atari Burial Ground, integrating the methods of garbologist William Rathje with techniques of excavating massive dumps of ancient pottery in Greece. Mert Bahadir Reisoglu (New York University) Digitized Voices and Materiality in Migration-Audio-Ar My paper concerns the relationship between recent media-theoretical researches about voice and Migration-AudioArchiv, an online audio archive founded in 2004 to share the life stories of immigrants to Germany. The archive hosts 20 to 45-minute voice recordings of the immigrants that were originally broadcast by Westdeutscher Rundfunk. While the project claims to make the voices of the immigrants heard in the "public sphere", the organizers' emphasis on the physical aspects of the "spoken word", which they believe makes these stories more "authentic" and "emotionally relatable", echoes the booming interest in the materiality of voice in Germany around the same time. Karl-Heinz Göttert's Geschichte der Stimme (1998), Reinhardt Meyer-Kalkus's Stimme und Sprechkünste im 20. Jahrhundert (2001) as well as Zwischen Rauschen und Ofenbarung (2002), edited by Friedrich Kittler, Thomas Macho and Sigrid Weigel are only a few examples of this line of research which problematizes and complicates Derrida's theories about phonocentrism. This rapprochement, I argue, invites us to go beyond cultural interpretations of the archive's function and reconsider the hermeneutic approach of transnational studies in conjunction with media-archaeological approaches without falling into the pre-Derridean mistake of taking voices as markers of "authenticity". This difference between the two ways of approaching cultural archives is best exemplified by Wolfgang Ernst who claims that the recordings of Serbian guslari songs preserve "the very materiality of culture", thereby giving rise to questions about conceptualizing differences in this materiality rather than in cultural practices. While the Migration-Audio-Archiv archive still orders and identifies sound "sequences exclusively according to their authors, subjects and time and space metadata of recording" (Ernst), and relies on the narrative dimensions of speech rather than the materiality of sound, its project statement insinuates the importance of this technical dimension, thereby juxtaposing the discursive/cultural and nondiscursive/material components of audiovisual archives which have different effects on their constitution, as well as on their projected goals. Les Roberts (University of Liverpool) Navigating the ‘Archive City’: Digital Spatial Humanities and Archival Film Practice This paper examines the idea of the ‘archive city’: a spatiotemporal construct oriented around the central metaphor of the ‘city as archive’. Surfing the cusp between the material and immaterial, the tangible and intangible, the embodied and virtual, the producer and consumer, and – not least – the analogue and the digital, the archive city denotes a conceptualisation of ‘archival space’ that straddles the material and symbolic city and which invites reflection on the ways archaeologies of memory – in this case those specific to cities and other urban landscapes – are enfolded across the multi-sited and multi-layered spaces of everyday urban practice. Reframing the ontological question of ‘what is the archive in the digital age?’ in terms of ‘where is the archive?’, in the first part of the paper I survey the theoretical precincts of the archive city before moving on to discuss how we might conceive of a digital spatial humanities in which this more open and purposefully elusive conceptualisation of the archive can productively inform debates and practices relating to urban cultural memory. The paper then discusses two case studies, both of which map the cinematic geographies of cities: Liverpool in the north west of England, and Bologna in Italy. The paper ends with some concluding thoughts on the role of digital spatial humanities in urban-based cultural memory studies and the broader theoretical and practical implications this has in relation to digital and ‘open’ archival practices. Richard Rudin (Liverpool John Moores) Radio Re-Remembered and Re-Contested For a month in the spring of 2014, a former Lightship, by then anchored in a dock in Liverpool, England, was

transformed into a ‘pirate’ radio ship. It was licensed on FM for 28 days to be a 50th anniversary tribute to the northern service of Radio Caroline. The original station broadcast from international waters off the coast of north-west England and had been highly successful, capturing the zeitgeist of the times and bringing non-stop popular music and personality disc-jockeys to millions of listeners, at a time when the BBC, broadcasting only a few hours of strictly controlled and presented ‘pop’ music a week, had an official radio monopoly in the UK. When a 1967 law forced most such stations off the air, Radio Caroline North joined its sister station (anchored off the south-east coast of England) in defying the government by continuing to broadcast. The tribute Radio Caroline North – which also streamed on the Internet to a potential worldwide audience – was thus a revived repository of many strands of broadcasting practice, culture, memory (collective and individual) and politics. This paper will examine how the service both re-imagined and re-contested a distinctive period of media history, which was sometimes disputed (‘Radio Caroline’ appeared in a variety of guises, broadcasting contrasting music formats and presentation approaches right up to the 1990s) and it will also discuss how it negotiated a powerful nostalgic appeal. The paper will examine the approaches of, and reaction to, the tribute station, through the use of Participant Observation (the author presented a number of programmes on the service), Reception Studies, Uses and Gratifications theory, and psychoanalytic approaches, drawing on works such as Karpf’s The sound of home? Some thoughts on how the radio voice anchors, contains and sometimes pierces (2013). It will analyse the specific appeal of ‘pirate’ radio broadcasters, as assessed by practitioners and audiences, in texts and in several radio documentaries. The paper will also form its approach from such works as Lewis’s Remembering Radio (2013), Higson’s Nostalgia is not what it used to be: heritage films, nostalgia websites and contemporary consumers (2013) and, providing an international perspective, Douglas’s Listening In: Radio and the American Imagination (2004). In discussing a broader political context, it will draw on such works as Johns’s Death Of a Pirate (2012). Given the ephemeral nature of radio (especially, commercial music radio), and that much of the debate is around what Radio Caroline is or was, the archiving and curating of radio texts is an important issue, so the paper will draw on works such as Garner’s Ripping the pith from the Peel: Institutional and Internet cultures of archiving pop music radio (2012). The tribute station (often explicitly) also critiqued contemporary commercial music-led radio services, so the paper will discuss relevant past and present professional practices and conventions, through such texts as Starkey’s Radio In Context (2013), as well as examining blogs and email discussion groups immediately before, during and after the transmission period of the tribute station. Richard Stamp (Bath Spa University) 'A delayed double-take': John Whitney, Sr and the discontinuous adaptation of computer animation In his account on the post-war development of digital computers, George Dyson focuses on von Neumann’s design team’s pragmatic decision to use the ‘cruddy’ Williams cathode ray tube as memory storage over RCA’s more reliable, fully digital Selectron tube: ‘The use of display for memory’, he states ‘was one of those discontinuous adaptations of preexisting features for unintended purposes by which evolution leaps ahead.’ (2012: 145) We can find the same drive of ‘discontinuous adaptation’, where preexisting technologies are put to unanticipated uses thereby giving rise to equally unexpected results, in every one of the ‘animation mechanisms’ that John Whitney Sr (1917-1995), a pioneering figure in the fields of computer animation and electroacoustic sound, built in the pursuit of a new art of motion graphics and 'audiovisual music'. Whitney himself refers to this reengineering of nineteenth-century optical toys (pantographs, Foucault pendulums) and discarded military surplus analog gun directors as 'the philosophy of a gadgeteer'. This paper argues that Whitney’s ‘gadgeteering’ offers a case study in the way in which the relations of artist and machine, art and industry, automation and militarisation operate within unstable feedback loops: the waste products of an industrial-military economy characterised by the drive to 'effectivise', protect and dominate provide the space for another economy of imagination and invention without immediate purpose or legitimation (see Zielinski 2006); yet at the same time these inventions feed back into that hegemonic economy - in this case, of the film and television industries (in spite of Whitney's continued adherence to a new art of audiovisual complementarity) in the form of ‘innovation’.

Retracing Whitney's role in the genealogy of computer motion graphics reaffirms the dispersed bi-directionality of analog-digital media insofar he came to see his 'animation mechanisms' (a highly sophisticated, 'beautiful network of cams') as simply a 'model' for the digital computers on which he began to work in the late 1960s, under the auspices of an IBM Fellowship. For these home-made, reengineered mechanisms continued to shape the filmmaking processes and possibilities of films such as Permutations (1968) and Arabesque (1973). Drawing on brief clips from these films and his machines, I will show that Whitney's 'delayed double-take' placed him in an 'agonising' position - as he wryly attests in the film about his work at IBM, Experiments in Motion Graphics (1968): in spite of Moore's Law, then recently formulated, '[his] threefold agony is that computers are not small, fast, or cheap enough’. Matthew Tyler-Jones (University of Southampton) Fictionsuits – an interpretive tool? Comics writer Grant Morrison coined the term fictionsuit to describe a persona that an author might use to explore and interact with their created diegesis. Can archaeologists use the fictionsuit as a toolset for interpreting past worlds? This case study describes an experiment planned for 2015 which will test whether metafiction can improve interpretation and learning about real-world archaeology. Annie van den Oever (University of Groningen) Experimenting with the impact of new moving image technologies: sensitization, de-sensitization, and re-sensitisation of users Aesthetics and anaesthetics are words that should be taken seriously in the world of cinema and media studies, for at least two reasons. One, a pivotal feature of media usage is that the initial aesthetic effects which sensitise users to a new medium wear off in the process of use up to a point where the awareness of the materiality of the medium may disappear almost fully. Two, the process of habituation trigger de-sensitisation and transparency effects in users which affect cinema and media studies in profound ways, including the ways in which the object of studies is defined. This paper will argue that a re-sensitization of expert observers (with help of simulations) is needed to construct the epistemic object; to define what a “medium” is; and to create consensus in the field with regard to it. It has already been noted in a series of studies that the definition of “media” has become so broad that it is now in danger of losing all meaning altogether. Providing a workable definition of its object is nevertheless crucial to any field of studies and perhaps even more so for the field of media studies as it aims at understanding cultural practices which constantly and rapidly change, and media products of which the impact tends to be ephemeral, first sensed and then forgotten, on and off, in an on-going process of use that automatically and inevitably conceals the traces media technologies initially create in users in terms of sense responses and medium awareness. It will be argued that the study of mediumawareness cycles should help to explain why the construction of the epistemic object and an operational definition has been such a challenge to the field. Victoria Grace Walden (Queen Mary, University of London) The Holocaust Archive as Cinematic Memory Archive material has been appropriated by filmmakers in many different ways. In this paper I argue, that besides film scholars performing media archaeology, that the film experience can be an archaeology of memory. I explore the use of Holocaust archive material in A Film Unfinished (Yael Hersonski, 2010) and Displaced Person (Daniel Eisenberg, 1981). Applying a Bergsonian approach to memory, I contrast the former film's use of manipulation techniques as repeating the past in a contemplative manner which we might consider as "recollection" to the latter's collage technique. I argue that Eisenberg's film expresses a cinematic "actualization" of memory, to use Bergson's term, which opens up a dialogue for the future. Hersonski plays previously unscreened Nazi footage of the Warsaw Ghetto to survivors, who add their commentary to the images which the director at times manipulates using slow motion or freeze frame techniques to draw our attention to their content. In contrast, Eisenberg's film is composed of five major sequences, each of which is distorted, repeated and reordered throughout the short to the accompaniment of Claude Levi-Strauss and Beethoven. While Hersonski attempts to re-anchor her found footage in a contemporary context, Eisenberg appears to purposefully deanchor any specific meaning one might appropriate to any of his chosen images. Both films excavate images from the archive in order to confront the past and its memory, but they do so in remarkably different ways and to different means. In their application of found footage both films reveal the layers of pastness which inform memory, from the past of the archive to the past of the film.

In this paper, I review the manner in which the presence, and yet pastness, of the film body as consciousness can effect our experience of archive material. I hope therefore to highlight film's subjectivity and the difficulty of judging archive material purely as historical artefact - whenever the archive is being experience, it is always a part of our present as much as it belongs to the past. Johnny Walker (Northumbria University) Rewind and Playback: Re-examining the Video Boom in Britain Following the ‘industrial turn’ in film and media studies, ‘Video Studies’ has emerged as a fresh line of academic inquiry, with scholars striving to look beyond ‘the text’ and ‘beyond the multiplex’ (Klinger 2007), to examine the ways that films have been distributed and consumed across a host of video platforms (Labato 2012). Other scholars have sought to historicise the emergence and longevity of the video industry (Wasser 2001; McDonald 2007) or have assessed the cultural experience that video has afforded its consumers from Betamax, to Blockbuster, and beyond (Greenburg 2007; Herbert 2014).

Britain’s place within such research has mostly been linked to the video nasties panic and its cultural legacy (Egan 2007; Petely 2011). Therefore, it is the purpose of this paper to introduce my next research project: an investigation into the impact that home video had on British society and popular culture during the 1970s and 1980s beyond the video nasties, considering those people who used and consumed the technology, as well as the video shop owners and independent distributors who made a living from it. This talk will focus primarily on the cultural specificities of early video shop culture and will also reflect on my methodological concerns moving forward. Annie Wan (Hong Kong Baptist University) Revitalizing Hong Kong Cinema: An Augmented Reality Approach In recent years, there are disputes among different groups of people in the society on preserving tangible heritage, our own colonial history and the Press often writes about tangible heritage such as historical buildings but pay less attention to the value of our own culture and intangible heritage. In this project, the idea of considering local films as our intangible cultural heritage is introduced as well as innovating the popular Augmented Reality (AR) technology. Augmented Reality (AR) technology refers to computational image processing technique that combines computer sensory input such as motion detection, GPS, accelerometer, etc and combines 3D or 2D graphics with realtime captured video through video cameras. Hong Kong film industry is our most important creative industry, meanwhile a precious of our local culture. Starting from 2009, more and more local cultural organizations organize culture tours in Hong Kong. Some of them introduce intangible culture heritage to younger generations as an act of preserving our local culture. In this paper, an interdisciplinary mobile computing project Pocket Cinema Hong Kong will be introduced, reputable local films, such as Chung King Express and Echoes of the Rainbow are considered as our precious intangible culture heritage and through technological creative process, these movies will be revitalised and synergized. The AR technology often used in gaming industry are based on a marked system whereas in this project, we will adopt a more high ended markless AR technology. This technology maximizes mobile phones’ image processing capabilities and analyze features tracked within the images captured from a real time camera and hence 2D or 3D graphics will be rendered on the real time images that matched with its camera angle, position and orientation. In addition, this paper will also evaluate the effectiveness of how the idea of technology aided cultural tourism will be promoted through this app and how to advocate the general public the importance of this mobile technology in cultural tourism. Artemis Willis (University of Chicago) Media-Archaeological Art Practice as Critical Practice This proposed paper concerns the intersection of media archaeology and art. In particular, it takes up the question of media-archaeological art practice as critical practice. Drawing on the work of Zoe Beloff and others working in the field

of media archaeology, I elaborate some of the key approaches, methods and strategies artists use to investigate the historical, disciplinary and social contexts of audio-visual media. In so doing, I argue, media-archaeological artists are not only able to conduct media archaeology in a different way, but are also able to create actively layered institutional critiques. Grant R. Wythoff (Columbia University) Mobile Media and the Paleolithic In the mid-1950s, a collection of Neanderthal artifacts was unearthed in the southwest of France, kicking off one of the most famous debates over the study of cultural transmission through the archaeological record. At a time before the development of chronometric techniques like radiocarbon dating that would allow later archaeologists to definitively order these artifacts in time and space, the Mousterian debate centered on the question of how we can extrapolate history from the formal properties of a technical object. In this presentation, I attempt to put debates from the history of archaeology into conversation with the exciting new field of “media archaeology.” Media archaeology has thus far been informed by Michel Foucault's (largely metaphorical) use of the term archaeology to denote an inquiry into “the law of what can be said, the system that governs the appearance of statements as unique events.” But I will argue here that the traditional field of archaeology, its primary concern being the study of how objects mediate our relationship to the past, has much to offer a media archaeology. I begin by focusing on the two principal figures in the debate--the established French archaeologist and sometime science fiction novelist François Bordes and the upstart American Lewis Binford--in order to draw larger conclusions about how we both experience and interpret the artifacts around us. I then attempt to apply the methodological insights gleaned from this episode in the history of archaeological thought to current debates about the cognitive effects of mobile media on their users. In contrast to fears that digital devices are forcing us to "evolve" in some sense, the Mousterian debate reveals the complexity of how we should narrate the many lives of technology: the tasks to which our tools are put, the expanded ranges of action and forms of expression they enable, the cohesion and succession of sociocultural traditions, and how we resurrect such forms of subject-object interaction from history. Anna Zett DINOSAUR.GIF (video essay) DINOSAUR.GIF is a silent video essay using visual, electronic media to reflect on the performativity of moving images. What is the medium of media archaeology? The showmen of the 19th century brought together art, science, commerce and magic tricks, which eventually lead to the establishment of the movie theater. Today, as cinema has started to look like a thing of the past, artist and theorists are in the lucky position to be able to look at it in retrospect, take it apart and put it together again. There is a lot of room to ask what cinema was and there are many ways to figure out what we could do with the shiny, digital remnants of it in the future. Then one can ask: shall media archeology keep a distance to its object of study, or shall it work in the midst of it? If a performance can be an argument, DINOSAUR.GIF argues for the latter. The visual content of this essay are about 200 animated screengrab-GIFs from US-American dinosaur films of the past 100 years. As they are scrolled down in a text editor, the ghostly theatre of early cinema meets the digital wilderness of contemporary social media. An essay broken down into small text portions floats over more than half of these image loops. GIF by GIF a critique of the dinosaur spectacle's entanglement with US-American imperial mythology unfolds. From 1910's, when stop motion animation had its break-through, to the 1990’s, when cgi-imaging irreversibly transformed Hollywood cinema, these extinct animals moved into into the spotlight whenever there was a cinematic technique to be introduced. As the spirit animals of technological progress, US-American dinosaurs are loaded with both colonial nostalgia, scientific machismo and capitalist utopism. It turns out, that in the spectacle of contradiction that they keep starring in, revealing and concealing are inseparably connected. Like a website, a film roll or a papyrus scroll DINOSAUR.GIF is based on a vertical movement; it plays with the attraction of animated images; it speaks to the eye, rather than the ear. Obviously it deliberately uses and reiterate the very spectacular mechanisms of revealing and concealing that it attempts to critically analyze. Whether critique can be spectacular, whether critique is supposed to solve rather than display contradictions, shall be subject to discussion and controversy. Gregory Zinman (Georgia Institute of Technology) The Eternal Return of the Cinematic Event: Oskar Fischinger’s Raumlichtkunst, Materiality, and the Museum

Conceived in 1926 by animator Oskar Fischinger, Raumlichtkunst is a three-screen spectacle of abstract explosions, spinning globes, animated squiggles, spiraling discs, and pulsating moiré patterns. The piece is a marvel of European modernism, and it stands as one of the earliest multimedia projects to engage the moving image. In 2012, the Center for Visual Music unveiled a high-definition digital restoration of the surviving remnants of Fischinger’s project, and it has since been installed at the Whitney Museum of American Art, the Tate Modern, and the Palais de Tokyo in Paris. Currently configured as a 10-minute loop in which the three projections run independently and asynchronously, the piece produces different audio-visual combinations with each repetition. The revived Raumlichtkunst, while undeniably gorgeous, nonetheless demonstrates the difficulty of preserving cinema's intermedial past, and, in particular, its media historical status as “event and experience” (Elsaesser 2004). After all, Raumlichtkunst did not originally exist as a black-box video installation, or even as a discrete film work. In fact, the name Raumlichtkunst describes a concept; it was a name Fischinger applied to a number of projection performances that took place in Germany in the mid 1920s. Fischinger did not think of these pieces as film, but instead, as a new art that would fulfill the promise and extend the possibilities of cinema. These were unique events that took place in real time. They were deliberately ephemeral, and reliant—at least in part— on the artist’s aleatory selection of elements. That Raumlichtkunst is not a single work or film raises a host of questions about the intersection of cinematic history and the museum, the nature of the cinematic event, abstraction and the moving image, and the return of the aura to the mechanically reproducible object. This paper will take up these questions, arguing that Raumlichtkunst is a work whose time has come—again. I will show how Fischinger’s art helps us better understand a multi-screen temporality familiar today, as evident in the experience of multiple open browser windows on our computer desktops today, or in online video that utilizes “spatial montage” wherein the screen is reshaped into a number of separate and simultaneous images (Manovich 2002). Raumlichtkunst is also a timely instantiation of the burgeoning art world interest in cinema's expanded field, particularly in the arena of projection performance. Today’s media artists are once again combining cinema with elements of music, sculpture, and live performance, rejecting cinematic convention in favor of rethinking the sites, modes, and meanings of the moving image.

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