Category: Media Archaeology
Main Research Questions
– 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,...
Forensics: Genesis 1 component-mod
What makes this Sega Genesis “High Definition Graphics” model 1 unusual is that it has a full set of gold-plated AV jacks added to the rear, for component video (YpBPr) and stereo sound. In this post, we open it up to see what's inside.
Forensics: Super Famicom component-mod
A forensic examination of the Depot's Nintendo Super Famicom, which has been modified with the addition of ports for composite video, S-video and component video, while leaving the functionality of Nintendo’s “multi out” connector intact.
Reflections on the experience of building an arcade table
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.
Re-versioning as a cultural technique of nostalgia? – Final Presentation
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?
Press START: Reflections on the Making of the Arcade Table
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.
Action Max: Notes on a Deictic Dispositif
The slogan for the Action Max is not so much a sales pitch as a finger pointed at the console’s own pitfall. It wants to be so real that it can’t be a game.
ghosts ; replicants ; parasites — Excavating the Spectravideo CompuMate
The CompuMate is starting to challenge some of my thinking, or at least provide some new territories to expand beyond a dialectic of living and dead that ghosts seems to traffic in. Particularly, as I’ve repeatedly suggested, I’m getting interested in the figure of the parasite.
Remake as an object of history – Thoughts on Jentery Sayers’ writings
For the probe, I chose to discuss the writings from Jentery Sayers, especially his thoughts on The Relevance of Remaking which is close to my own research interests. I will, of course, make some notions on the other two writings as well but the main focus lies in the practice of remaking and remakes. The key question Sayers claims he has to answer every time regarding remaking is, how is remaking scholarship. The definition of remaking according to Sayers is as follows: need not to be an exact replication of artifacts (appeals to authentic not required) remake doesn’t necessarily lack something the original doesn’t what isn’t at hand, or what we don’t know, or what we are willing to conjecture...
Anxieties of Scale and Infrastructure Aesthetics
While we discussed briefly during Wednesday’s seminar some of the epistemological distinctions between media archaeology and the digital humanities, our work in the afternoon seems to suggest to me a shared methodological concern: the need (real or imagined or both) for dedicated spaces, resources, and labor practices that enable and foster particular kinds of technological and imaginative work. The Residual Media Depot and the Milieux Institute more generally, both as physical space and institutional configurations, are our most immediate and tangible examples of this; Patrik Svensson’s chapter also gives us a glimpse into the HUMLab at Umeå University as yet another. Svensson offers a substantial and considered response to a very straightforward question, though one that he wants us to think...