Media Archaeology Project Archive

We tend to think of the “digital” as a singular, monolithical period in media history…. yet, there are actually many phases of the digital/electronic, as this interactive media exhibition explores. Each phase has its own particularities that are connected to the specificity of the hardware, software, and other contextually and materially-specific aspects. Although interactive media technology has “evolved” since the 1990s, the featured projects are still considered some of the most sophisticated early creative approaches to digital interactivity. Collectively, the Media Archaeology projects have covered a diverse range of interactive artworks from the 1990s-early 2000s, and a broad cultural range spanning from Europe and the Balkans, to Asia, the U.S. and Australia! These projects help provide a much more nuanced and layered impression of “digital cinema” through an examination of some of its now almost forgotten earlier phases (in addition to our study of other early electronic media, including 1960s-90s computer films in class). The website’s design aesthetic pays tribute to the experimental and DIY ethos of the turn-of-the-century emerging interactive arts culture. This website, as a collective project, provides an alternative self-sustainable low-budget and low-tech curatorial, historiographical, and media archaeological model.

Thank you to all the students for their hard work and enthusiasm for this experimental project. Special thanks to all the featured artists and cultural institutions who contributed their work. Thanks to Ina Cajulis, Ethan Gates, Greg Helmstetter, Ann Harris, and the Cinema Studies and MIAP department for emulating the collection so that more people can access this invaluable anthology of early interactive digital works. For more details on the process, visit Ethan’s blog post and a follow-up new DIY emulation tutorial by Xulun Luo. Visit the About page for map design statement and a full list of credits for everyone who contributed to the virtual exhibition and physical showcase. ~ Prof. Marina Hassapopoulou

Below you will also find a selected curation of past Media Archaeology group presentations.

Image by Zhongwen Li

Shock in the Ear (Norie Neumark and Maria Miranda with Richard Vella, 1998; installation in 1997)- Ana Marks, Ronan Solomon, and Kieren Wheeling

DanmatsuMouse (computer mouse and software; exonemo, 2007)- Sophia Winkler & Xulun Luo

Troubles with Sex, Theory and History (Marina Gržinić, Aina Šmid, 2006)- Zhongwen Li

Sally or the Bubble Burst (Toni Dove, 2003)- Carter Jones & Sabrina Smith

Impalpability (Masaki Fujihata, 1998) – Vincent Antista & Yushu Wang

Beyond (Zoe Beloff, 1997)- Ayisat Bisiriyu

Frozen Palaces (Hugo Glendinning & Tim Etchell, 1997)- Loke Zhang-Fiskesjö

Immemory (Chris Marker, 1997)- Xulun Luo & Yushu Wang

Shock in the Ear (Norie Neumark and Maria Miranda with Richard Vella, 1998; installation in 1997) – Gabriella Frisch & Sano Rogers

More ArtIntact explorations – Sneha Iyyapillai & Eugene Hu

Media Archaeology Projects – Spring 2022 (ArtIntact)

1. Sally or the Bubble Burst (Toni Dove, 2003) Fall Semester 2016 

2. Sally or the Bubble Burst (Toni Dove, 2003) Fall Semester 2017

3. Database Novella: Bleeding Through Layers of Los Angeles (Norman Klein, 2002) Fall Semester 2017

4. Troubles with Sex, Theory and History (Marina Gržinić and Aina Šmid 1997) and Frozen Palaces (Hugo Glendinning, 1997) Fall Semester 2017

5. Crazy Bloody Female Center (Nina Menkes, 2000) Fall 2019

6.  Artintact Komplett (Hate Cantz) Fall 2019 (collection of various ArtIntact projects)

https://prezi.com/view/VQPfv4uP00pUfxF43wBu/

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