UNDERGRADUATE PROSPECTUS 20 15 START YOUR JOURNEY

STA

RT

YO

UR

JO

UR

NE

Y

1 7 4

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

City Campus12 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

for more information and maps see www.bradford.ac.uk/maps

Main entrances

bus stops

free city bus stops

bus stop for the A99

free bus to the School

of Management Campus

information

Controlled parking areas

(permit holders only)

Symbols keyvisitor 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

UNDERGRADUATE PROSPECTUS 20 15 START YOUR JOURNEY

Campus

Maps

Welcome

We are excited to welcome you to Archaeologies of Media and Film, a conference organised by theUniversity 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 RobertsMark Goodall

Conference Team

Angela BarracloughRachel BarracloughRekha BillooMark GoodallAnna JamesBen RobertsKaren Scott

The Conference Venues

All keynotes and panels will take place on the D Floor of the Richmond Building at the University ofBradford. Some additional events will take place at the National Media Museum (see the schedulefor 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 D1Richmond D2Richmond 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 alongMarket 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) fromthe 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 busservice 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 tothe Richmond Building.

This can be accessed from the University entrance on Great Horton Road. The postcode for Sat Navpurposes 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 Foyer14.45 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

VIDEO GAMESChair: Ben Roberts (University of Bradford)

Rebecca Hernandez-Gerber (New York University)GOTTA CATCH EM ALL? VIDEO GAME PRESERVATION AND VARIANT FORMS

Alison Gazzard (IoE, University of London)RE-PROGRAM, RE-PLAY, REWIND: COMPUTER GAME MAGAZINE LISTING IN 1980S BRITAIN

Christian Hviid Mortensen (University of Southern Denmark)BEYOND NOSTALGIA: RETRO-GAMING AND VINTAGE COMPUTING IN THE MUSEUM

A2: VENUE: Richmond D2

THE ARCHIVE 1Chair: Karen Scott (Bradford)

Victoria Grace Walden (Queen Mary, University of London)THE HOLOCAUST ARCHIVE AS CINEMATIC MEMORY

Mike Best (Royal Television Society)DO YOU REMEMBER WHEN?

A3: VENUE: Richmond D1

STEREOSCOPIC PHOTOGRAPHYChair: Rachel Barraclough (Lincoln)

Joana Bicacro (Universidade Lusofona)NAVIGATING THE RUINS OF PORTUGUESE STEREOSCOPY

Rodrigo Tavarela Peixoto, Filipe Costa Luz (Universidade Lusofona)REMEDIATION OF THE SPECTACULAR

Victor Flores (Universidade Lusofona)THE OPPORTUNITY FOR A PORTUGUESE STEREO ARCHAEOLOGY

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

9.00-9.30 Registration (Sanderson Room)9.30-11.00 PANELS B

B1: VENUE: John Stanley Bell

ANIMATIONChair: David Robison (Bradford)

Anna Zett DINOSAUR.GIF (video essay)

Richard Stamp (Bath Spa University)A DELAYED DOUBLE-TAKE': JOHN WHITNEY, SR AND THE DISCONTINUOUS ADAPTATION OF COMPUTER ANIMATION

Alessandra Chiarini (University of Bologna)THE MULTIPLICITY OF THE LOOP: TEMPORALITY, REPETITION AND DIFFERENCE IN THE ANIMATED GIF

B2: VENUE: Richmond D1

AUDIOChair: Mark Goodall (Bradford)

Richard Rudin (Liverpool John Moores)RADIO RE-REMEMBERED AND RE-CONTESTED

Ido Ramati (University of Jerusalem)HEBREW SOUND RECORDINGS

Mert Bahadir Reisoglu (New York University)DIGITIZED VOICES AND MATERIALITY IN MIGRATION-AUDIO

B3: VENUE: Richmond D2

ART AND ARCHAEOLOGYChair: Karen Scott (Bradford)

Louisa Minkin, Ian Dawson (Central St. Martins)GRAVE GOODS

Zoe Beloff (CUNY)IFIF (INSTITUTE FOR INCIPIENT FILM)

Artemis Willis (University of Chicago)MEDIA-ARCHAEOLOGICAL ART PRACTICE AS CRITICAL PRACTICE

B4: VENUE: Richmond D3 Foyer

ARCHIVES AND TEMPORALITYChair: Rachel Barraclough (Lincoln)

Panagiota Betty Nigianni (University of Southampton)AFFECTIVE NETWORKS

Jane Birkin (University of Southampton)PHOTOGRAPHY AND DESCRIPTION: ARCHIVES, ORDER AND SPECIFIC TIME

11.00 Refreshment Break (Richmond D3 Foyer)11.15- PANELS C

C1: VENUE: John Stanley Bell

ARCHAEOLOGY Chair: Sam Cameron (Bradford)

Alex Casper Cline (Anglia Ruskin)TOWARDS A METHODOLOGY FOR MEDIA ARCHAEOLOGICAL EXCAVATION

Grant R. Wythoff (Columbia University)MOBILE MEDIA AND THE PALEOLITHIC/FRENCH ARCHAEOLOGY

Teresa Cruz (NOVA University of Lisbon)IS THERE AN ARCHE-CINEMA? THE CONTRIBUTION OF PALEOLITHIC HERITAGE TO MEDIA THEORY AND ARCHAEOLOGY

C2: VENUE: Richmond D1

SOCIAL MEDIAChair: Ben Roberts

Niels Kerssens (University of Amsterdam)BEYOND THE ENGINE: TOWARD AN ARCHAEOLOGY OFONLINE SEARCHING

Sarah Atkinson (University of Brighton)DEEP FILM ACCESS: THE ARCHIVING OF FILMMAKING EXPERTISE AND COLLABORATIVE ENDEAVOUR

C3: VENUE: Richmond D2

TELEVISIONChair: Karen Scott

Nick Hall (Royal Holloway)WHAT IS A BBC CAMERA? UNEARTHING THE TOOLS AND TECHNIQUES OF 1960S DOCUMENTARY FILMING

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)

media-arch--prog-final-schedule-v4.doc

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

ARCHAEOLOGICAL THEORYChair: Rachel Barraclough (Lincoln)

Vanina Hofman, Natlia Cant Mil, Pau Alsina (Open University of Catalonia) DIGGING INTO THE REMAINS OF THE INVISIBLE AVANT-GARDE

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

D2: VENUE: Richmond D1

EXPERIMENTAL MEDIA ARCHAEOLOGYChair: Karen Scott (Bradford)

Annie van den Oever (University of Groningen)EXPERIMENTING WITH THE IMPACT OF NEW MOVING IMAGE TECHNOLOGIES. SENSITIZATION, DE-SENSITIZATION, AND RE-SENSITISATION OF USERS

Andreas Fickers (University of Luxemburg)EXPERIMENTAL MEDIA ARCHAEOLOGY AND THE METHOD OF RE-ENACTMENT

D3: VENUE: John Stanley Bell

THE ARCHIVE 2Chair: Ben Roberts (Bradford)

Michelle Henning (University of Brighton)MUSEUMS, MEDIA ARCHAEOLOGY AND THE IMAGE

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 Museum19.00 onwards Conference Dinner

media-arch--prog-final-schedule-v4.doc

Friday 5 September

9.00 REGISTRATION (Richmond D3 Foyer)9.30 REFRESHMENTS (Richmond D3 Foyer)

10.00 PANELS EE1: VENUE: Richmond D2

HAUNTOLOGYChair: Mark Goodall (University of Bradford)

J. R. Carpenter (University of the Arts, London)WHISPER WIRE: HAUNTED MEDIA

Gerald Bar ( Universidade Aberta / CECC Portugal)ORPHEUS AND THE DOPPELGNGER-SHOT

Phil Ellis (Plymouth University)REENACTTV: 30 LINES / 60 SECONDS (PERFORMANCE/TALK)

E2: VENUE: John Stanley Bell

ARCHIVING AND EDITING KITTLER Chair: Ben Roberts (University of Bradford)

Tania Hron/Sandrina Khaled (Humboldt Universitt Berlin)FRIEDRICH KITTLERS COLLECTED WORKS

Moritz Hiller (Humboldt Universitt Berlin)TOWARDS A PHILOLOGY OF CODE

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 Lunch13.45 15.15 PANELS F

F1: VENUE: Richmond D1Chair: Jessica Borge (Birkbeck, University of London)

ARCHIVES IN MOTION

Alessandro Bordina (University of Udine)ANALOG AUDIOVISUAL TECHNOCULTURAL TRACES IN THE DIGITAL WORLD

Ludovica Fales (University of Udine)ARCHIVE RECONFIGURATION, REMEDIATION AND REMIX PRACTICES AT THE CROSSROADS BETWEEN CONTEMPORARY ART AND DOCUMENTARY FILMMAKING. THE CASE OF YOUTUBE ANDCC LICENSES

Lisa Parolo (University of Udine)CONTINUITIES AND DISCONTINUITIES IN THE ARCHIVIST'S PRACTICE. THE CASE OF LOOKING FOR LISTENING BY MICHELE SAMBIN

F2: VENUE: Richmond D2Chair: David Robision (Bradford)

FILM

Annie Wan (Hong Kong Baptist University)REVITALIZING HONG KONG CINEMA

Zara Dinnen (University of Birmingham)HOLOGRAMS AS DIGITAL METAPHOR AND MATERIAL HISTORY

15.15 Refreshments

media-arch--prog-final-schedule-v4.doc

15.30 17.30 PANELS GG1: VENUE: Richmond D1Chair: Karen Scott (Bradford)

ARCHIVES, SPACE AND PLACE

Patrick Allen (University of Bradford)CITY OF TINY LIGHTS

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

Les Roberts (University of Liverpool)NAVIGATING THE ARCHIVE CITY: DIGITAL SPATIAL HUMANITIES AND ARCHIVAL FILM PRACTICE

G2: VENUE: Richmond D2Chair: Mark Goodall (Bradford)

CURRENT RESEARCH INTO VIDEO CULTURES

Mark McKenna (University of Sunderland)RECONFIGURING THE MERCHANTS OF MENACE

John Mercer (Birmingham City University)WHAT GETS LEFT BEHIND: VHS AND ARCHIVES OF SEXUAL REPRESENTATIONS

Johnny Walker (Northumbria University)REWIND AND PLAYBACK: RE-EXAMINING THE VIDEO BOOM INBRITAIN

Oliver Carter (Birmingham City University)FANS AS ARCHIVISTS: COMMUNITY CURATION OF VHS

G3: VENUE: John Stanley BellChair: Angela Piccini (University of Bristol)

ARCHAEOLOGY AS SUCH

Cassi Newland (Kings College London)SCREMBLED MESSAGES

Paul Graves-BrownTHE SEX PISTOLS' GUITAR TUNER

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

media-arch--prog-final-schedule-v4.doc

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 formsin the experience of the urban. This investigation makes direct reference to Huhtamos concept of a media archeologyof 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 unlocklatent 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 isnow 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 aswell 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 constitutethe 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 chairsupon 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 theintellectual and political culture of the day, and reflects contemporary attitudes to politics on television, and to a lesserdegree, 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 realizationbegan with the dawn of mankind. Making the soul visible meant gaining control over it. Its imagery in our westerncollective 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 18th and 19th centuries the phantasmagorias of Schrpfer and Robertsonanticipated spirit photography (Mumler, etc.), but only the technology of cinematography would provide the idealhabitat for the pictorial heritage of the soul.

Already in 1896 the Russian author Maxim Gorki had compared his experience while watching a film with theKingdom of the Shadows (cf. Leyda, 1972). Joseph Roth (1934) still uses this metaphor of the shadow forcinematographic 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 thana decade before Seeber had filmed Der Student von Prag (1913) transparent figures appeared on the screen, as forexample in Le Manoir du Diable (1896) and Le Portrait Mystrieux (1901) by Georges Mlis and in Photographing aGhost 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 LangsDer 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 recentbook by Andriopoulos (Ghostly Apparitions: German Idealism, the Gothic Novel, and Optical Media, 2013), thiscontribution aims at contextualizing the motif and the technological development of its cinematographicrepresentation 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 hasbecome one of the central topics around which critical discussions of media and technology revolve. There has been aboom 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 usabout 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-organisedin drastically new multi-temporal ways and social geographers such as David Harvey (1990) have given us a picture ofan increasingly shrinking globe, where developments such as the horse and cart, the jet engine, the telephone, thetelegraph, 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 becomefundamentally disjoined from the time of experience, with the result that we find ourselves facing a new, structurallyunprecedented 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 perspectiveinformed by media archaeology. Inspired by Siegfried Zielinskis (2002/2008), Vilm Flussers (1985/2011) andWolfgang Ernsts (2002) analysis of television, we explore the role played by the technical architecture ofcontemporary digital television in generating the experience of at once being in and out of time, an experience thatSmith describes as a defining feature of the condition of contemporaneity. Embedded in this argument is a rethinkingof 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 socialmedia 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 andprotocols, ensuring often very limited experiences of real time participation. Digital televisions temporality offersexperiences of shared, networked time, but simultaneously involves the melancholy and anachronism of viewersdisengaged 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, Flusserand Ernst have argued, pre-supposed in the history of the development of televisions technical architecture and itscapacity 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 utopiansocial thinking. I plan to speak about my ongoing project The Institute for Incipient Film (IFIF) to explore films thatwere derailed before they could be realized. I will focus on two films created under the umbrella of the IFIF that takethe form of speculative essays: The Glass House based on a film proposed to Paramount in 1930 by Serge Eisensteinand 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 moreimportantly 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 televisionproducer.

It is a session fully illustrated with programme extracts which looks at how and why archive material can be such a vitaltool for any television producer. Specifically it looks how archive brings the past into the present, allows the viewer tosee something that in all probability has physically disappeared, and is also multi-layered in its appeal with fivedifferent 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 theYorkshire Film Archive called Yorkshire Remembered. They were the words spoken by the presenter the late RichardWhiteley 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 onmaterial in the Yorkshire Film Archive (much of which had never been broadcast: some of which had never beencatalogued!) , as well as two documentaries I produced to mark the anniversaries of the York Minster Fire of 1984 andthe Nypro Chemical Plant explosion at Flixborough in 1974 both of which relied heavily on archive material for theprogramme content, and indeed to win the commission to make the programmes. It also includes an extract from aprogramme produced in 1997 to mark the 25th anniversary of Emmerdale: one of the early examples of what hasbecome a standard programme format these days, a television programme based around archive extracts from atelevision programme.

It all demonstrates that the moment you capture something on film or tape or online, it itself becomes archive for thefuture, 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 ofPortuguese stereo photography, produced and circulating in Portugal between 1860 and 1920. Until the beginning ofthis project, Portuguese stereoscopy lacked a substantial identification and was only tangentially referenced by mediatheorists or photography historians. Some of its main figures were known but their work was not. Most of the imagesnow in the project's corpuscomprehending circa 11000 stereo pairs from national museums and archivesseem tohave been forgotten (unseen, misused or misunderstood) for nearly 100 years. The archaeological treatment theseimages require is faced with acute theoretical, institutional and cultural challenges (while, on the contrary, thetechnological 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 thementioned challenges. These challenges are motivated, above all, by the fact that 70% of the images have as supportthe negative glass plate. It is virtually impossible to uncover this forgotten life of Portuguese photography or to renewthe stereoscopic experience once envisioned through these objects without radically changing from one medium toanotherthat is, from the dead glass negative to the digital screen stereoscopic experience. This transformation risksignoring or speculating about stages of the photographic creation process traditionally overvalued by photographytheory and art history. Most importantly, the validity of the analysis conducted with resort to the conversion andmigration of these images to other media environments (such as contemporary 3D television sets), depends on acomplex articulation of the current 3D screen qualities with 1) the discursive reception and the textual production ofthe period and 2) the careful survey of the concrete, non-screen, material conditions that characterized stereoscopicexperience 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 thedigital navigation of the Portuguese stereoscopy and its dead archive block the view to a very rich and once verypopular visual culture landscape. When crossed, these barriers reveal a corpus that, on the one hand, strongly relatesto seminal aspects and procedures of 20th century and present day photography and cinema (such as family and travelalbums, report or documentary uses) while, on the other hand, constitutes a thorough and abundant exploration ofthe 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 considerphotography and time in the archive, not through considerations of preservation and regulated temporalities producedby 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 widertemporalities of the event. The event unfolds in time through the juxtapositions, the part to whole relationships, ofdiscrete units of description. Time in archives is delineated through original order. The archive takes on adevelopmental 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 methodologyof collecting. Within this diachronic milieu, the individual object and description is synchronic; both atemporal andsupertemporal in nature.

Inside and outside the archive, description writing and list making are methods of recording, not storytelling. Innarrative theory, both description and list are classed as narrative pause, a low form of writing that can almost bedisregarded. Wolfgang Ernst quotes Fowler on the narrative pause, The plot does not advance, but something isdescribed.[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 thearchive. In this way, the list itself describes. I will position the single photographic image (in common with itsdescription) as a narrative pause: a discrete and inherently atemporal form, a scene that exists outside the plot. It mustbe at the same time accepted that the photograph, like the denoted description itself, is a writerly text [2], aparticipatory object. The reader might introduce a version of the plot with its own particular temporalities; this versioncould 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 amethodology, this in collaboration with the full or partial withholding of the image, to investigate the conceptsoutlined above. Typically working with connected sets of images and texts, I explore part to whole relationships inorder 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 doesnot constitute a neutral space of memory conservation, but determines modalities of existence and of transmissionof archivable content. Although non-exclusive, the state of communication, recording and storage technologies are keyfactors in defining archive material's conservation possibilities. Moreover, it governs indexing, recovery, interpretationand interrelation of data systems. Every technological transition contributes, to various degrees, to redefiningconditions of existence and use of archivable materials. In the field of audiovisual conservation, the establishing ofdigital migration as main preservation strategy will have important effects on the existence and interpretation ofanalog film and video archives. On the one hand, tendencies of rewriting analog technological past throughprocesses of digital retroaction (Wolfang Ernst) become more and more evident. The history of analog media tendsto be reinterpreted as a linear chain of events that leads and prepares the ground to the advent of digital technologiesdisregarding all of its contradictions and breaks. In the same way, from a conservation point of view, all peculiartechno-cultural features of analog objects that cannot be migrated in the digital realm (see Parikka, Kittler) are indanger of being forgotten or erased (in this sense the processes of decision-making in digital restoration works areworth being analyzed in themselves). On the other hand, the technical structures of digital archives, through theiroriginal modalities of indexing, retrieving, data interoperability and access, allows not only the development ofinnovative ways of cultural appropriation and studying of analog audiovisual heritage, but also the emergence of adifferent 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 futuretransmission 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 soonbe challenged by a number of planned projects such as the Dubai Eye (210m), Bejing Great wheel (208m), New YorkHigh Wheel (192m), and Las Vegas High Roller (167m). Opened to the public in 1893 as part of the Worlds ColombianExposition in Chicago, the 80-meter-high original Ferris Wheel was a hybrid cultural phenomenon that displayed athreefold 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 acarnivalesque fairground ride and an observation wheel Ferris himself insisted on the latter, seeking to align hisconstruction with its Parisian predecessor and a former elite, but by now popularized visual modality. As Dorrianhas shown, the ride on the Ferris Wheel was an experience significantly shaped by the increasingly popular opticalentertainments and philosophical toys during the nineteenth century. In this paper I call attention to this specificfeature of mechanical motion combined with the aerial view in the context of the observation wheel, coining the termcinma trouv or readymade cinema. I use the term cinma trouv in order to point out a specific cinematicexperience outside of the conventional cinematic apparatus. My approach will be to align a dialog between the aerialview, deliberately studied across disciplines as a powerful format with performative implications, and cameramovement, an often acknowledged yet under-theorized cinematographic convention that plays with our sense ofimmersion in place and space. When aligning the cinma trouv of the observation wheel to the flourishing cameramovement and aerial view in recent digital cinema (Brown, 2013) and on-line geography media such as Google andSkybox 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 theposition of a camera in an excessive tracking or crane shot, participating physically in what Tom Gunning has called theunsettling nature of camera movement (Gunning, 2013). In the paper I will discuss what this sensation of doublemovement does to the already powerful image from above. The paper will investigate how the observation wheel islinked to our need to frame the world into an image of ownership and appropriation and at the same time seek outthe feeling of being suspended and exceptionally vulnerable. It asks how this experience mirrors that of currenttechnological development of moving image media by tracking immersion versus rational overview, mapping, andcontrol, 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-fateddigital 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 remainedstubbornly analogue. While noting that digital rendered Polaroid obsolete, the paper goes on to comment on thereturn 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 PlateauEfect (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 writingpractices 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 paperconsiders the paradoxical state of long-distance communications networks which are both physical and digital, andwhich 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 ratherhere and there, past and future, original and copy. The complex temporaility of this in-between state is furtherarticulated through Galloways framing of the computer, not as an object, but rather as a process or active thresholdmediating between two states (23). This theoretical framework for haunted media will be employed to discuss a web-based computer-generated text called Whisper Wire (Carpenter 2010). Whisper Wire 'haunts' the source-code ofanother computer-generated text, Nick Montfort's Taroko Gorge (2008), by replacing all of Montforts variables withnew lists of words pertaining to sending and receiving strange sounds. Drawing upon Freuds notion of the uncannyand heuristic research into Electronic Voice Phenomena, Whisper Wire will be framed as an unheimlich text - a codemedium sending and receiving un-homed messages, verse fragments, strange sounds, disembodied voices, ghostwhispers, distant wails and other intercepted, intuited or merely imagined attempts to communicate across vastdistances through copper wires, telegraph cables, transistor radios and other haunted media.

J. R. Carpenter (2010) Whisper Wire. http://luckysoap.com/generations/whisperwireJacques Derrida (1994) Specters of Marx: The State of the Debt, the Work of Mourning and the New International.Peggy Kamuf, trans. NY & London: RoutledgeSigmund Freud (2003 [1919]) The Uncanny. London: Penguin ClassicsGalloway, A. R. (2012) The Interface Efect. Cambridge: PolityNick Montfort (2008) Taroko Gorge. http://nickm.com/poems/taroko_gorge.htmlJeffery 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 VHStapes. Often responding to the political and economic limitations of rights holders and other gatekeepers of culturalheritage, fan archivists are making materials available for access through online communities of practice. Thesecommunities are being formed to collectively seek out, capture, preserve and make accessible a range of popularcultural 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 ownresearch (Carter, 2013) I examine how fans of cult film assume the role of archivist as they digitise and share contenttaken from VHS tapes. Drawing on virtual ethnographic studies of fan constructed online archives and engagementwith their participants. I demonstrate how such fan sites play a crucial role in the preserving the obsolete technologyof VHS for future access and in so doing create rich and valuable archives that document the histories of thedistribution 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: SharingAllItaliana - 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. TheRadio 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 ashort series of images creating an endless pattern through the repetition of the same movement or visualtransformation. 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 areunexpectedly witnessing a massive return of the GIF.

In particular, the incessant and compelling repetition of a few frames, combined with the obsolete appeal andsimplicity of this format, has brought web artists such as Flux Machine, Davidope or Stuck In The Loop to experimentwith the GIF as a medium. These and other artists have already created a fascinating body of work meant to causesubtle communication fractures that can generate sudden suspensions of thought in the viewer. While the animatedGIF can stimulate nonsensical effects or distorted meanings within the web, the in between and iterative conditionthat characterize these images can also produce more complex possibilities of reflection, especially about the notion oftemporality. As still/moving sequences, the GIF works with the temporal tension that stems from the encounterbetween static and moving images, recalling, in a strange way, the hypnotic turn from stillness to movement and backof pre-cinematic optical toys. In the era of the always-moving and ubiquitous post-cinematic images, thecompulsion to repetition and return of the animated GIF evokes a model of thinking that lead us to reassess theconceptual implications of the loop in time.

Because of its reiterative and fragmented structure, the GIF brings to mind multiple ideas of loop: the most obviousone is the perception of the endless repetition of the same animation; the least obvious one refers to a concept ofloop that according to Thomas Elsaesser implies the adoption of media-archaeological as well as historicalperspectives. Strictly linked to a critical concept of obsolescence, this second notion of loop is based on a dialectics ofrepetition and difference able to suspend time. This allows us to problematize the logics of media progress basedexclusively on evolutionism and linear chronology. The looping coexistence of a technological past (the pre-cinematicoptical toys) and the digital present (the Internet) that constitutes the GIF suggests the impossibility of looking at apost-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 geologicalexcavation. [1972, 148] Simultaneously, Media Archaeology, which draws heavily from the work of Foucault and fromits subsquent expansion in the work of scholars such as Friedrich Kittler, tends to prioritise first and foremost archivalwork as a means to construct knowledge about media apparata. As opposed to historical research, which attempts tofit recovered material into a narrative framework, media archaeology priviliges recovered artefacts as points ofdeparture for speculative synchronicities. In addition, Media Archaeological labs have sprung up, allowing forresearchers to produce autopsies of various technical devices, allowing further knowledge of the specificities of theiroperations. Alongside the proliferation of so-called 'hackspaces' and 'fablabs', which proliferate technical literacy andencourage 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 hasshown 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 ofcollectors or museums of science and design, or less consciously, in warehouses and thrift stores. Since the widespreadproliferation 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 poorlyselling Atari games from the New Mexico Desert, it is difficult to think of any examples of Media Archaeologicalexcavation. Yet could be argued that we lose something by not considering the notion of the archaeological site inmedia archaeology. Objects are disconnected from the places they are used, from the people that used them; they arevalued or discarded according to human logics. More traditional archaeologists have critiqued this practice, calling fora 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 andContemporary archaeologists who struggled to work with proximate periods. It is perhaps possible also to draw uponmaterial culture studies of the contemporary ruin and ethnographies of urban exploration for inspiration. This paperconsiders three possible media archaeological sites the abandoned central post office in Brighton, the squattedLondon 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 isworth asking: how can we develop such sites, rediscovering communities of technical objects, while developing at thesame 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 ofmodernity itself. The understanding of the intrinsic modern character of the moving image has grown along withmedia archaeology studies about early cinema phenomena and various kinds of cinematic apparatuses of the XIXcentury. Digital technologies and the so called post-media condition, on their turn, have brought about the debateabout the end of cinema, allowing the archaeology of movies no more than a very short narrative. Contemporarythinking however offers two interesting counterarguments to this short life of cinema. On the one hand, thecontinuous growing of cinematic interfaces and aesthetics through digital media, as they push further and further allkinds of synthesis and animation. On the other hand, some extraordinary examples of pre-historical art (namely inChauvet Cave and Ca Museum) seem to present us a kind of arche-cinema, by means of a schematic representationof movement questioning, among other things, a fundamental separation between the imaginary and the abstractworks of consciousness. Is there a cinematic experience before and after cinema? The post-medium condition shouldtake archaeology (one of its best succeeded methods) even more rigorously and allow us to look for the pre andpost-history of our cultural techniques, independently of a specific medial determination. Following the interpretationof some archaeologists and rockart experts I will examine some dramatic examples of paleolithic art that allows tothink of a truly primordial representation of movement parallel to the evidence of the abstract, symbolic quality ofhuman thinking. But maybe this interpretation is only possible today, to a vision that has been shaped by cinema andby 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 are3D images first conceived in 1947. Early holographic images were described in terms of scientific progress; SeanJohnston notes that holographic imagery was tied to still-mysterious lasers; [] created in sophisticated opticallaboratories; and the characteristics of the hologram defied common sense. Holography evinced the future [] (ACultural History of the Hologram 2008). Today, when immersive virtual environments and sophisticated 3D effectsoffer simulated 3D imagery at home, what is the relevance of holograms? Taking into account holograms on TV in the90s show Wild Palms, holograms in music videos and live performance, and holograms in recent novels by Dave Eggersand Jonathan Lethem, this paper considers how a bygone scientific marvel might now function as a metaphoricalgesture away from simulation and possibility, and toward the resistant matter of technological change. Given thepotential for holographic data storage, and new developments in simulated holographic entertainment, this paper willquestion whether holograms might be both a material media historycome to pass in ways that push against previousnarratives of technological progressand a metaphor for some technological imaginaryperhaps always yet toappear.

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. Theyare not representations, visual explanations, or arguments but need to be understood as cognitive extensions: theyconstitute psychodynamic prostheses that aid our orientation in sociocultural, economic, and psychological matters.Standing between sensory evidence and abstraction, between embodied affect and abstract concept, statisticaldiagrams play a crucial role in the ways normalistic structures of data are subjectivized, identified with, and radiate outinto the core of subjectivity. In contemporary cultures, many mundane activities are accompanied by numerous andcomplex calculations, our environment is active in generating cognitive assistance to us on a routine basis. Visualdiagrams 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 toa kind of a new sense organ. He envisions a time when upon the accomplishment of every social event a figure will atonce issue forth automatically, so to speak, to take its place on the statistical registers that will be continuouslycommunicated to the public and spread pictorially by the daily press. Once statistics reaches such finely-tunedcalibration, 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 aneat and molded result. To orient oneself in the changes of political opinion, for example, will be no different fromrecognizing 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, ameasuring apparatus. Their histories are intertwined: it is in the first decades of the nineteenth century that statisticaldata began to be translated from numerical tables into graphs and diagrams. My paper will describe the family oftechnical 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) whilecombining 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 producethe UKs first TV drama, the broadcast of Luigi Pirandellos The Man with the Flower in his Mouth to less than 30 Bairdtelevisors in the UK, Dublin and Porto.

The work forms part of PhD research into early television experiments and interrogates the relationship between thisearly television technology (and its production process) and our high definition participatory culture. The work andresearch take media archaeological approaches (Huhtamo, Parrika, Ernst), interweaving materials from a variety ofarchives (BBC WAC, BFI, RTS, Malcolm and Iain Logie Baird) in seeking traces (Ricouer, Derrida) through the process ofreenactment (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 thecircularity 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 interactwith lines of the play, each for a segment of around 60 seconds duration. At the Kunsthalle, there were 21 participantswho took part from the audience of the wider exhibitions opening night. Each segment is filmed on a webcam in theperformance space the latter representing Bairds small studio at 133 Long Acre, London. The webcam image is fedthrough software called Video2NBTV/NBTV Virtualcam which acts as a 30-line emulator producing a simulation of the1930 image.

This image is streamed via Wirecast and this stream is displayed on an Apple iPhone 4 in the performance space on its5.08cm 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 tothat which it represents. In other words, we have considered the cinema as a primarily ocular dispositif, theorizedeither in terms of projection and transparency, or a recording dispositif, to be understood in terms of imprint andtrace.

However, photography, as a photo-chemical process, involving the registration of light on a sensitive surface, is a dyingart, or at least it is an increasingly obsolete imaging technology. And if film-based photography has now been replacedor overtaken, by digital imaging technologies, then our ways of thinking about the cinema should also come in for amajor revision. Otherwise we have to conclude that cinema, as some have indeed been claiming, has become a deadart.

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 thedeath of cinema, but also acknowledges the changing function of the moving image for our information society, ourservice 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 forunderstanding digital media culture. In the process of sedimentation of media cultures the direction of modern mediahistoriography is often short-circuited, in Foucauldian terms, by interferences in linear history reading. Some archivalprocesses 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 ofhistory remediation in which memory becomes an issue of technical possibilities (Wolfgang Ernst). In this respect, Iwould like to investigate the changing relationship between past archival, ephemeral and amateur stored material, andcurrent would-be DIY makers, in the way it has been transformed by Youtube's current evolution into a CreativeCommons-based site. In the last 3 years around 4 million videos have been made available for remix and reuse on theplatform, backed up by an automated attribution system, which would automatically credit the source material in anyvideo that has been made by remixing CC material. The result of this transfomation is that suddenly forty years-worthof footage has become available on Youtube under CCBY licence, boosting remixing and reuse activities by furtherspreading the practice of content sharing. This opens interesting questions about the shift from individual memory-making and sharing - as a movement from the individual to the peer group - as originally practiced on Youtube, tocommunity ownership of the material and thus, potentially, of the memories themselves. Moreover, the question ofwhat an archive is is also being transformed by the shift from 'storage' to 'creative palette' and by the spreadability andcontent 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 anepistemological concept, re-enactment was introduced by the historian and philosopher of history R. Collingwood inhis seminal study The Idea of History (1946). While Collingwood was interested in the informative role of re-enactments in the historians mind in the construction of her historical imagination, I propose to expand this idea ofexperiencing history in doing historical re-enactments with media technologies in practice and not only asGedankenexperimente. Inspired by the heuristic potential of doing re-enactments in the field of archaeology andhistory of science, the paper will discuss the theoretical and practical challenges of engaging with historical artefacts inan experimental setting. Practicing experimental media archaeology, I argue, can stimulate our sensorial appropriationof the past and thereby help to critically reflect the (hidden or non-verbalized) tacit knowledge that informs ourengagement with media technologies. Doing experimental media archaeology is therefore a plea for a hands-on, ears-on, 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 challengesbrought by stereoscopy during the 19th Century were again offered to the general public. This is one reason thatallows us to distinguish stereoscopic photography as a relevant subject for media archaeology. The Portugueseresearch 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 publisheddiscourses). The late emergence of photography archives (both local and national) and the recent creation of a fewmuseums specialized in technical images enabled a sudden growth of the public collections of Portuguese stereoscopicphotography. This new scenario that has enriched the archives by the end of the 20th Century is particularly revealingbecause it denounced the significant omission of stereoscopy in the historical studies of photography and in manyinstitutional discourses and publications.

Besides this recent and favorable conjuncture of the Portuguese public museums and archives which has allowedthe 'Stereo Visual Culture to identify over 28,000 stereo pairs in 41 public collections, the archaeology ofPortuguese stereoscopy can also benefit from the analysis of significant historical discourses that enthousiasticallywelcomed stereoscopy in several specialized journals on photography. Although these publications have been avaiablefor longer decades in the National Libraries, theyve remained almost unoticed and unremarked in the Portuguesestudies of photography.

This paper aims to characterize the reception of stereoscopy in Portugal through the discourses published in severalspecialized journals on photography. These publications help us to recognize what were the announced qualities andadvantages 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 photographypublished in Portugal between 1869 and 1945 (respectively, the date of the first publication and approximate date ofthe last stereo photographs), in order to demonstrate how this new technology was received and announced tosociety and, in particular, to the early practitioners of photography. A special note will be made to the advertising thatfilled many pages of such publications: these were ads from the 'world of photography' (studios, cameras and technicalmaterial) that revealed the important role that topoi and rhetoric played as cultural discourses in the mediation of thisnew 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 mightpreserve 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. Despitethis, other related content such as magazine articles and books still remain, either in their original form or scanned bycommunities of users online. These (para)texts (Newman 2011) allow for a searchable archive of preserved contentrelated to the games scene at the time. Similarly recent emulation efforts in order to preserve content also provide ameans for people to engage with the original platform in a modified form on a more contemporary machine. Whilstdebates about the materiality of the platform as opposed to emulation (see Newman 2012, Guins 2014) are valuablewithin the wider preservation debate, this paper looks at emulation and the availability of the archive in a differentlight.

Using examples from 1980s British computing magazines and emulators such as BeebEm and Spectaculator (for theBBC Micro and ZX Spectrum respectively), this paper shows examples of re-creating program listings only available inprinted form. Re-programming these listings exposes the disparity between the fictional spaces conveyed through theelaborate imagery and backstories displayed in the magazine and the reality of the game executed through the typingof code. They also expose the other aspects of home game creation that were not always available via purchasedstorage 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. Itwill examine the role of the archive in exposing an alternative history of computer games through the lens of mediaarchaeology (see Huhtamo 2011, Ernst 2013, Parikka 2012, Zielinski 1996) alongside an examination of programlistings, microuser practices and homebrew game creation in 1980s Britain. In doing so this research acts as a startingpoint for thinking about the possibilities for emulation beyond the preserved games so often discussed, and how theuse of such platforms can enable researchers and cultural institutions to expose other aspects of the computer gamearchive 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 ofCalifornia Press.

Lowood, H. (2002) Shall We play a game: thoughts on the computer game archive of the future paper presented atBITS of CULTURE: New project linking the preservation and study of interactive media , StanfordUniversity, 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 PressZielinski, S. (1996) Media archaeology, Ctheory, available at http://www.ctheory.net/articles.aspx?id=42

Paul Graves-BrownThe Sex Pistols' Guitar TunerWhen the Sex Pistols arrived at their Denmark Street rehearsal rooms in 1975, they inherited a number of items fromthe 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 materialculture is one of a number of elements that offer the negative dialectic to the media myth that the Sex Pistols couldnot 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 remainlargely invisible in histories of television. Historians may refer to 16mm cameras and sync sound, but such genericterms encompass a wide range of different cameras and techniques each preferred for different productioncircumstances, each differing in availability from one television company to the next. The phrase BBC cameras, sooften 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 knowabout how television is made, there is urgent work to be done in relation to the history of 1960s television locationfilming. Many of the men and women who worked in the production of such programmes are now very elderly, or nolonger alive. Without action now, some of the most basic knowledge of equipment and techniques from a period asrecent 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 thelengths to which historians can and should now go in order to understand production practices, techniques andtechnologies dating from the 1960s. The paper also highlights the innovative efforts of the ADAPT project to filmreconstructions of old technologies and techniques in use. This living form of media archaeology raises its ownquestions 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 media-archaeological approaches that have been taken in relation to museums. In particular I am interested in the variousways in which theorists such as Friedrich Kittler, Wolfgang Ernst, Erkki Huhtamo, (and others) conceive of museums inrelation to (and in distinction to) electronic media, and conceive of the practice of media archaeology in relation tomuseum studies. This question of how media archaeology understands the museum will be the subject of the firstpart of the paper. The second part of the paper takes the example of the photographic image and its circulation bothwithin and outside museums to demonstrate another possible media archaeological approach to museums and / asmedia, building on Foucault's notion of the free-play of images and on Hans Belting's understanding of images asnomadic. I propose a version of media archaeology that is based in a less rigid conception of historical and technicalchange. This kind of analysis treats media as bodily and images as embodied and material, but emphasises theimportance 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 andpreservation. During my two years at New York Universitys Masters program in Moving Image Archiving andPreservation, I have focused on video game preservation from the perspective of both code and surface qualities todetermine differences between variants. It was difficult to reconcile the reality of software, where branching andvariant forms is the standard of creation, with traditional audiovisual archiving and its seeming fixation on theauthenticity of a source text. My solution was to create a written thesis that discards authenticity as that of a sourcetext but instead as a range of significant properties that is highly dependent upon whether an institution considers thevideo game as audiovisual artifact or as source code.

To meet this difficulty, my paper proposes a new framework for institutions managing these digital artifacts thatfocuses on variant forms as the centerpiece of this media. It includes a step-by-step process by which an institution canconsider their own definition of video games, the types of alterations that exist between variants, and how todetermine what alterations result in video games that remain within the collecting scope of the institution. To betterdemonstrate this framework, two case studies of video games within the Pokmon franchise were introduced so thatthe 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 asbring the archaeology of source code to the forefront for future study of video games. Through these methods, mediamuseums and archives can truly collect the meaning in these works rather than fixate on the surface qualities that areonly 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 andcontrols most of today's cultures: source code, the textual representation of a computer program. In the light of thepossibility of future historiographies and especially on the occasion of an edition of Friedrich Kittlerrs complete worksthat is going to include his computer programs techniques of preserving and transmitting this textual phenomenonare required. Textual studies traditionally took care of these tasks. But since their basic concepts and methods aremostly pre-digital, we need to ask ourselves, whether they can still help with the philological challenge of editingsource codes. The paper will therefore raise a basic question: What is, in terms of textual studies, the text of a sourcecode?

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 historiesof media. Media archaeologists situate themselves in those creative moments when different initiatives and paths ofmedia development were flourishing. Some of them have just disappeared from the narrative of Media History, whichis mainly based on market's most successful (meaning predominant) technologies. However, digging into the forgottenor neglected past of media occurrences is more than finding lost links or deviant routes in a linear chain of History. It isabout a shift in the way we conceive research on media and at the same time a way to reconceptualise the relationamong time, matter, space and history.

On top of the forgotten media developments (objects-inventions), media archaeologists have looked at otherheterogeneous characteristics and conditions omitted in previous histories: creators (as individuals), "peripheral" geo-political 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 advocatesfor the inclusion of concepts like "true media memory" or "machines agency". In his media "archaeography" he seeksto 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 alsocollected) devices of early audiovisual culture and introduced the concept of "topoi" to analyse the reappearance (withvariations) of specific manifestations along time and cultures. Sigfried Zielinksi's with his "variantology", focuses onthose geo-political zones systematically disregarded by the hegemonic history of media. As a result many conceptionsof 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), theunderstanding of development as a non-linear or teleological movement (topoi), and the capacity to zoom-in indifferent spaces (variantology), the present paper will examine the process of recovery and enhancement of the "Feriade Amrica" [American Fair] coordinated by Wustavo Quiroga, and some of the works exhibited therein. The AmericanFair was the first industrial exhibition in Latin America, and it took place in Mendoza, Argentina, in 1954. Quirogasresearch sustains that the fair worked as a lab where the regional culture avant-garde of th