In 1998, Nintendo released the Game Boy Camera: a cartridge-based digital camera that allows players to take digital pictures, edit their saved files, and even print them using the Game Boy Printer accessory. While relatively lo-fi by today’s standards—with a 128×112 pixel screen beholden to the 4-colour palette of the Game Boy handheld—it was one of the earliest consumer digital cameras. Magazine advertisements for the Game Boy Camera In 2023, we brought the Residual Media Depot’s Game Boy Camera and Game Boy Printer to the NOSTALGIA/LOSTAGAIN Symposium at Concordia University. Our hope was to allow audiences to playfully interact with the now venerable camera while reflecting upon its limiting, yet enduring, aesthetic. During the workshop slot, we encouraged visitors to...
This post is about maintenance, obsolescence, waste, and changing the batteries on your old Game Boy cartridges. Our goal to interrogate the black boxing of technology and to empower consumers to take apart their hardware and repair it themselves.
– What are the discourse networks that authorize console-modding practices? Who can participate in them and who is excluded? What counts as valuable knowledge and what is dismissed? – What operations and techniques circulate in these networks? To what extent are these techniques borrowed from other discourse networks? How are borrowed techniques adapted? Are any of the relevant techniques sui generis? Which techniques persist and which fade away? Have any circulated outward to other networks? – What kinds of official and unofficial documents do these networks produce? Where do they reside? How public are they? – What sorts of institutions recognize and enable these techniques and practices, and what sorts fail to comprehend their existence? – What sorts of subjects,...
Before I came to media studies or media archaeology, I trained as a theater artist. The word "train" weighs heavily in that sentence. Over our week-long course, we talked a fair amount about "training": how disciplination emerges from the various ways that scholars are trained into practices, and how we code those various ways with residues of geography, culture, language, and tactics.
During my week at the Residual Media Depot, I participated in a group of two teams, with 2-3 members each, and transformed an IKEA coffee table into an arcade table using after-market arcade parts and a raspberry pi emulator. In this post, I discuss some of the ideas that emerged from the experience.
If media archaeology can be defined as a militant approach to the study of media in its privileging non-canonical history, by taking this class, I have been primarily interested in the meanings that a practical, hands-on, approach on media objects add to the traditional framework of a graduate seminar.
Who or what creates the cultural neo-production process? Is becoming a classic the result of simultaneous acts from both the producer and the users who by their own longing create the process, or is nostalgia something that is created on its own and it then creates the whole process?
Just as it is problematic to focus solely on an object’s narrative history, it is equally problematic to read objects as entirely independent of their cultural contexts and the ways they have been narrativized. The arcade table project ultimately allows us to to think through both aspects of a cultural object simultaneously.