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By Erkki Huhtamo

This e-book introduces an archaeological method of the research of media - one who sifts throughout the proof to profit how media have been written approximately, used, designed, preserved, and occasionally discarded. Edited by way of Erkki Huhtamo and Jussi Parikka, with contributions from the world over widespread students from Europe, North the US, and Japan, the essays aid us know the way the media that predate today’s interactive, electronic varieties have been of their time contested, followed and embedded within the daily. delivering a wide assessment of the numerous historic and theoretical aspects of Media Archaeology as an rising box, the booklet encourages dialogue by way of offering a whole diversity of other voices. by means of revisiting ‘old’ or perhaps ‘dead’ media, it offers a richer horizon for figuring out ‘new’ media of their complicated and infrequently contradictory roles in modern society and tradition.

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2). Pressed at the discussion following his presentation at the Imaginary Media conference in Amsterdam (2004) to define his method, Zielinski characterized it as “Kircherian,” referring to the seventeenth-century Jesuit polymath he deals with in Deep Time. 64. Zielinski, Deep Time, 33. 65. Siegfried Zielinski and Silvia M. Wagnermaier, “Depth of Subject and Diversity of Method: An Introduction to Variantology,” in Variantology 1: On Deep Time Relations of Arts, Sciences and Technologies, ed. Siegfried Zielinski and Silvia Wagnermaier (Cologne: König, 2007), 9.

4. ” ad for the Victor VI, both reprinted in Arnold Schwartzman, Phono-Graphics: The Visual Paraphernalia of the Talking Machine (San Francisco: Chronicle Books, 1993), 48, 38. 5. For example, in his three “optical theatres,” titled Quelques inventions remarquables (2003). See Vom Funken zum Pixel: Kunst + Neue Medien (Berlin: Berliner Festspiele / Nicolai, 2007), 168– 71; for other works, see Pierre Giquel, Pierrick Sorin (Paris: Hazan, 2000). 6. Arthur Conan Doyle believed in fairies and was an ardent supporter of the authenticity of the so-called Cottingley fairies, photographs taken by two Yorkshire schoolgirls supposedly showing them communicating with fairies in the family garden.

The center of everything was a snow-covered mountain capped by a Samsung phone. The mountain continued into the virtual realm of its screen, where a takeoff ramp built on its slope could be seen; a jumper was midair, shooting down from the ramp—and out from the screen. It immediately occurred to me that I had encountered such tiny people before. 2 She turns her head and sees a tiny man leaving through a doorway on the side of the enormous computer, clutching his suitcase and raising his hat in a mechanical greeting.

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