Category: Working Notes
Finding out new theories by product examples
Over past decades it has become more common for different kinds of products to reappear, be republished, and re-released. These are not remakes I’m discussing about although they can be included. These are, for instance, media products such as movies and TV-series which are first introduced to audience by theatrical release or on TV, and which then reappear on video, dvd, blu-ray and vod formats. The idea of reappearing media products was first introduced by sociologist Fred Davis in 1979. He suggested that media products should first have a short initial life, which would be followed by introduction of new products (planned obsolescence). Then, after some time the products would have their nostalgia-borne half-lives (planned revivification). (Davis) While Davis argued...
Writing Across Body and Machine: Cybernetic Methodologies in Art History
How can we better read the machine object in its native programming language? This is the essential question posed by my master’s thesis research, which is focused on cybernetic artist Nicolas Schöffer, the origins of cybernetic art history, and its continued relevance in the context of contemporary media art. This research, conducted within the MA Art History program at Concordia, proposes that early developments in cybernetic science and especially its elaboration in art spheres during the 1960s and ‘70s offer a lens with which to write contemporary media art history. With its attention to communicative feedback loops as well as the operational or mechanical looping that occurs in the machine, cybernetics is a vehicle for asking essential questions about the...
The Gendered Relationship with Cameras: an Archival Research of Visual Advertisements
The material turn in media studies invites us to consider different approaches through which we can analyze the relation between media and gender. Indeed, giving importance to the material, concrete, and tactical aspect of media implies a shift from a focus on media contents, and from the spectators/users’ practices of resisting and negotiating meanings proposed by popular media. On the contrary, a material approach in the study of media and gender implies, first of all, a focus on media technologies, foregrounding how they emerged and came to determine particular uses not only through their specific technical standards, but also through their external materiality that enabled the cultural circulation of the media technologies themselves. A media archaeological approach can take into...
When We Can’t Play, Wii Emulate: A Critical Investigation into the Politics and Uses of Softmodding a Nintendo Wii
Last February, Nintendo launched Fire Emblem Heroes, a highly anticipated mobile spin-off of the Fire Emblem series for Android and iOS. Framed as a free-to-play “catch-them-all” tactical role playing game, Fire Emblem Heroes features collectible avatars of main and supporting characters from eleven games in the canonical series, strategically offering Nintendo and Intelligent Systems an additional platform not only to advertise their upcoming installment for the 3DS but also to rekindle interest in earlier games. While intrigued gamers can purchase the most recent 3DS titles online or at any local games store, what happens when such an audience is drawn to a character from a title that ceased to be produced decades ago? What happens when new international fans wish...
Conveying Light
When loading the data emitted by a cassette player, Sinclair’s Spectrum 8-bit computers displayed an easily recognisable animated pattern of horizontal bars in the home television screens. These loading lines or raster bars became a popular visualization of the loading routine -a process that could take several minutes- and were adopted partially by other platforms also, such as Commodore 64 or Amstrad CPC. It was an animation fitted to the CRT’s scanned images -top to bottom, left to right- that needed therefore a very small amount of computer resources (‘What Are Loading Bars’, 2016). This project proposes to peek into the inner workings of this data-based animation pattern -both in terms of the context of its emergence as its technicities-,...
Analogue video processing (proposal for afternoon project)
Here follows a short proposal for my afternoon project at the 2017 edition of the Media Archaeology Summer School (in the context of my research). I am a PhD candidate at the Department of Media Studies at Stockholm University. I hold a BA and an MA in Cinema Studies (Stockholm University). My research interests revolve around the relation between aesthetics, media technologies, and the theoretical discourses that emerge at their intersection. I am specifically interested in analogue video as an aesthetic media technology and an archaeological artefact. My PhD project Electronic Labyrinths: Tracking Intersections of Video and Film (2013-2018) draws on media archaeology in general, and the archaeology of imaginary media in particular, in order to study the images and...
Four times (of) media archaeology (reading reflection/basis for discussion)
Here follows a reading reflection/basis for discussion for the first session of the 2017 Media Archaeology Summer School. It will be introduced by a short presentation where I will summarise the main issues raised in this short text, and (if there is time) show some of the material I am connecting it to (an excerpt from Kung Fury by David Sandberg, 2015). In her anthology chapter “Media Archaeology: Where Film History, Media Art, and New Media (Can) Meet”, Wanda Strauven maps the field of media archaeology as it divides into three branches, which are nevertheless connected by four common interests: the relation between history and theory; the relation between research and art; the archive; and a rethinking of temporalities (64-68). I will...
Virtual Boy to the Vive: VR and the Rhetoric of Immesion
For this blog entry I was interested in doing a material investigation the virtual boy and exploring the cultural linkages between the virtual boy and contemporary virtual reality. One of the first forays into contemporary VR was the Sword of Damocles , the first fully integrated head-mounted-display (HMD). “The system itself consisted of six subsystems: a clipping divider, matrix multiplier, vector generator, headset, head position sensor, and a general-purpose computer—which would make these the components of the first virtual reality machine as we know them today” (Wikipedia). For me, this project connects the discourse around teleprescence to modern attempts at virtual reality. One such attempt was Nintendo’s Virtual Boy. It was designed by Gunpei Yokoi. Professor LeMieux mentioned Yokoi’s notion of...
Politics of the Archive: Through Plugs, Publications and the History of Electric Labor
by Jaime Kirtz At the beginning of the week I began with the question: what are the politics of the archival space? This was driven by my recent work helping with renovations at the Media Archaeology Lab and the frustrations that came with redesigning the space, as well as my exposure and work with the tensions of cultural studies and political economy over the past two years. As I move from my coursework to comprehensive exams and my dissertation, I have questioned my methods, object of study and academic spaces (both physical and intangible), thus having a week to dissect these areas via various methods, discussions and practices, helped immensely. Ultimately I see the work I conducted during the course...
Interventions in Machine to Machine Writing
by Kyle Bickoff Hi all— I really tried to bring my hands-on work and some of the theory I’ve been interested in all together here. I’ll first talk about the additional research I did before speaking, and then I’ll go into what I believe this can help me understand. In particular, I’m concerned with, perhaps, illuminating the moment of human intervention in machine-to-machine writing, a moment clearly marked when we ‘codebent’ Super Mario Bros. So, after talking yesterday in class, and after Patrick’s suggestion, I looked most closely into Footnote 6 in Chapter 1 of Kirschenbaum’s Mechanisms. Kirschenbaum here discusses a great many of the origins surrounding inscription, particularly in relation to the divide between the terms communication and signification....