Archaeologies of Media

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
174
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
media-arch--prog-final-schedule-v4.doc
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)
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
Chair: Ben Roberts
Chair: Karen Scott
Tim Barker, Amy Holdsworth (University of Glasgow)

TELEVISION IN AND OUT OF TIME: ZIELINSKI, FLUSSER, ERNST AND
TELEVISIONS 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, Natlia Cant Mil, 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
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
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
FISCHINGERS RAUMLICHTKUNST, MATERIALITY, AND THE MUSEUM
17.00 18.00 Tours of the National Media Museum

19.00 onwards Conference Dinner
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 Universitt Berlin)

FRIEDRICH KITTLERS COLLECTED WORKS
Gerald Bar ( Universidade Aberta / CECC Portugal)

ORPHEUS AND THE DOPPELGNGER-SHOT
Moritz Hiller (Humboldt Universitt 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
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 (Kings 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
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
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 Manovichs 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 Huhtamos 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 Potters 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
Rattigans play interprets television culture at this time. It is effective because of two profound moments of change (1)
the figure of the cabinet ministers 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 Mores 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 Doppelgnger-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 Homers Odyssey). The underworld and its inhabitants were depicted by many painters
(Rubens, Kratzenstein, Kasparides), in the 18 th and 19th centuries the phantasmagorias of Schrpfer 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 Doppelgnger. In Die Kinotechnik
(1919/21) the German cameraman Guido Seeber had claimed to be the inventor of the Doppelgnger-shot
(Doppelgngeraufnahme), 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 Mystrieux (1901) by Georges Mlis 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 Langs
Der mde Tod, 1921 to Jean Cocteaus Orphe-trilogy (1930-1960). From LAnne dernire 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 Televisions 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 Zielinskis (2002/2008), Vilm Flussers (1985/2011) and
Wolfgang Ernsts (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 televisions 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 televisions 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 televisions 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 corpuscomprehending circa 11000 stereo pairs from national museums and archivesseem 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
anotherthat 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 poque 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 Cinma Trouv
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 Worlds 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
cinma trouv or readymade cinema. I use the term cinma trouv 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 cinma trouv 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 Corporations 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 Staffords 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 Plateaus 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 Gunnings 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 Derridas 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 Galloways 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 Montforts variables with
new lists of words pertaining to sending and receiving strange sounds. Drawing upon Freuds 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(56), 474489.
Carter, O. (2013) Sharing AllItaliana. Riproduzione e distribuzione del genere I sui siti Torrent (English Title: Sharing
AllItaliana - 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 Ca 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 historycome to pass in ways that push against previous
narratives of technological progressand a metaphor for some technological imaginaryperhaps 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.
Tardes 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 Bairds collaboration with the BBC in1930 to produce
the UKs first TV drama, the broadcast of Luigi Pirandellos 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 exhibitions opening night. Each segment is filmed on a webcam in the
performance space the latter representing Bairds 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 Bairds 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 historians 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, theyve 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 protgs 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, Whickers 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 Universitys Masters 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 Pokmon franchise were introduced so that
the frameworks 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 Universitt 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 Kittlerrs 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, Natlia Cant Mil, 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 Amrica" [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. Quirogas
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 Amrica", 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 Universitt Berlin)
Friedrich Kittlers Collected Works
The talk introduces the outline of the collected edition. Friedrich Kittlers Collected Works comprise three sections:
Writings, Voices, Hardware and Software. The section Writings covers all books and papers published in Friedrich
Kittlers 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 Kittlers 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). Kittlers 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
certificateone 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 childrens 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 museums 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 softwares
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 authors 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 photographys 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 authors 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, dont carve their songs in coral. Coral, itself a supple sub-aqua organism, petrifies when it surfaces,
its pinkness leeched from the blood of Medusas 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 Universitt 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 persons 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 (Kings 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 conferences 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 Mlies 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, well 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 technologythe 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 capturingand thus
preservingan 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, Idelsohns 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 Idelsohns 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
Gttert's Geschichte der Stimme (1998), Reinhardt Meyer-Kalkus's Stimme und Sprechknste 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 Karpfs 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 Lewiss Remembering Radio (2013), Higsons Nostalgia is not
what it used to be: heritage films, nostalgia websites and contemporary consumers (2013) and, providing an
international perspective, Douglass Listening In: Radio and the American Imagination (2004). In discussing a broader
political context, it will draw on such works as Johnss 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 Garners 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 Starkeys 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 Neumanns design
teams pragmatic decision to use the cruddy Williams cathode ray tube as memory storage over RCAs 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 Whitneys 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).
Britains 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 Franois 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 1990s, 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 Fischingers 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 moir 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 Fischingers 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 reliantat least in part on the artists 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 comeagain. I will
show how Fischingers 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. Todays 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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UNDERGRADUATE PROSPECTUS 2015

START YOUR JOURNEY

START YOUR JOURNEY

12 Sports and Amenities

Visitor car parking only.

Controlled parking areas

The Conference Venues

How to find the National Media Museum

How to find the University of Bradford

Getting to the City Campus from the train stations

Free City Bus

City Campus parking

Car parking permits

Archaeologies of Media and Film 2014

14.00 Registration (tea and coffee) Venue: Richmond D3 Foyer

Chair: Karen Scott (Bradford)

Chair: Rachel Barraclough (Lincoln)

Rebecca Hernandez-Gerber (New York University)

Victoria Grace Walden (Queen Mary, University of London)

Joana Bicacro (Universidade Lusofona)

Mike Best (Royal Television Society)

Rodrigo Tavarela Peixoto, Filipe Costa Luz (Universidade Lusofona)

Chair: Ben Roberts (University of Bradford)

Alison Gazzard (IoE, University of London)

Victor Flores (Universidade Lusofona)

Christian Hviid Mortensen (University of Southern Denmark)

B1: VENUE: John Stanley Bell

9.00-9.30 Registration (Sanderson Room)

B4: VENUE: Richmond D3 Foyer

ART AND ARCHAEOLOGY

ARCHIVES AND TEMPORALITY

Richard Rudin (Liverpool John Moores)

Louisa Minkin, Ian Dawson (Central St. Martins)

Panagiota Betty Nigianni (University of

Richard Stamp (Bath Spa University)

Ido Ramati (University of Jerusalem)

Zoe Beloff (CUNY)

Mert Bahadir Reisoglu (New York University)

Artemis Willis (University of Chicago)

Chair: David Robison (Bradford)

Alessandra Chiarini (University of Bologna)

Chair: Mark Goodall (Bradford)

Chair: Karen Scott (Bradford)

Chair: Rachel Barraclough (Lincoln)

Jane Birkin (University of Southampton)

C1: VENUE: John Stanley Bell

11.00 Refreshment Break (Richmond D3 Foyer)

Alex Casper Cline (Anglia Ruskin)

Niels Kerssens (University of Amsterdam)

Nick Hall (Royal Holloway)

Grant R. Wythoff (Columbia University)

Sarah Atkinson (University of Brighton)

Chair: Sam Cameron (Bradford)

Teresa Cruz (NOVA University of Lisbon)

Chair: Ben Roberts

Chair: Karen Scott

Tim Barker, Amy Holdsworth (University of Glasgow)

EXPERIMENTAL MEDIA ARCHAEOLOGY

Vanina Hofman, Natlia Cant Mil, Pau Alsina (Open

Annie van den Oever (University of Groningen)

Michelle Henning (University of Brighton)

Chair: Rachel Barraclough (Lincoln)

Tomas Dvorak (Academy of Sciences of the Czech Republic)

Chair: Karen Scott (Bradford)