What is Media Archaeology
According to Jussi Parikka and Erkki Huhtamo,
It investigates “alternate histories of suppressed, neglected, and forgotten media that do not point teleologically to the present media-cultural condition…” (Huhtamo & Parikka,Media Archaeology, 2011 ).
And Geert Lovink says,
‘Media archaeology is first and foremost a methodology, a hermeneutic reading of the “new” against the grain of the past, rather than a telling of the history of technologies from past to present. No comprehensive overview of the media archaeology approach is yet available, but we could mention a few scholars, such as Friedrich Kittler, Siegfried Zielinski, Werner Nekes, Jona- than Crary, Katherine Hayles, Werner Künzel, Avital Ronell, Christoph Asendorf, Erkki Huhtamo, Paul Virilio and others.’
(Lovink, My First Recession – Critical Internet Culture in Transition, 2003)
’In his Archaeology of the Cinema C. W. Ceram states: “What matters history is not whether certain chance discov- eries take place, but whether they take effect.”4 When Hertz experimented with electromagnetic waves he meant to prove Maxwell’s mathematical calcu- lations of the electromagnetic field; almost by accident he thereby practically invented radio transmission technology.5 How can we write media history when media systems create their Eigenzeit?’ (Ernst, Digital Memory and the Archive, 2013, p57)
We can say that Media Archaeology is not a single methodology, but an orientation – a direction which is common to a loose group of researchers (a lot of whom are German and related to a particular kind of german media theory and philosophy) and a particular flavour of research. If methodology is ‘a system of methods used in a particular area of study or activity’ (OED) then really Media Archaeology exists at a level of abstraction above this. It is an associated set of theories, methods, methodologies and skills which emphasise a close reading of technology itself, not just in its ability to be a cultural phenomenon. As Friedrich Kittler says:
‘History is not a list of, “directors, stars, studios and celebrities, which in the end remains organised around a series of titles” ‘ (Kittler, Optical Media, p. 26).
As Ernst summarises,
‘Equally close to disciplines that analyze material (hard- ware) culture and to the Foucauldian notion of the “archive” as the set of rules governing the range of what can be verbally, audiovisually, or alphanumeri- cally expressed at all, media archaeology is both a method and an aesthetics of practicing media criticism, a kind of epistemological reverse engineering, and an awareness of moments when media themselves, not exclusively humans anymore, become active “archaeologists” of knowledge.’ (Ernst, Digital Memory and the Archive, 2013, p55)
Although he is not usually referred to in the ‘canon’ of MA, we could look at Matthew Kirschenbaum’s archival practice with electronic literature as an example of MA in practice.
Meanwhile Wolfgang Ernst frequently uses the spatial and temporal specifics of technological kinds of writing to discuss and problematise the way we understand time and in particular historical narrative.
‘…the historical mode of describing temporal processes has been confronted with alternative modelings of time, When it comes to describing media in time, this aporia becomes crucial, since one can no longer simply subject media processes to a literary narrative without fundamentally misreading and misrepresenting their Eigenzeit. Historical media narratives take place in imaginary time. Storage technologies, on the other hand, take place in the symbolic temporal order…’ (Ernst, Huhtamo and Parikka, Media Archaeology, 2011, p. 242)
‘But is radio, when playing, ever in a historical state? Is it not in fact always in a present state? The medium only appears to conform to the logic of historical epochal concepts; in actuality, it undermines this logic and sets a different temporal economy. For example, an original record- ing resonating today from an old tube radio, provided it can still run on 220 volts, hardly makes history audible. A tube radio thus practices compressed time with respect to our sensory perception, as long as this is not overlaid with “historical meaning,” which corresponds not to the actual media work- ings of radio but rather to the logic of inscribed historiography.’ (Ernst, Digital Memory and the Archive, 2013, p159)
Ernst makes the point that our language and methods of discussing, and modelling time in terms of historical narratives just aren’t up to the task of considering what technological (particularly electronic and computational) media actually do.
He also has a lot of interesting things to say about counting,
‘The numerical order, the basis of digital technologies, has always already been performed as a cultural practice before becoming technically materialized.’ (Telling vs Counting in, Ernst, Digital Memory and the Archive, 2013, p147)
To tell, we learn, as a transitive verb, means not only “to give a live account in speech or writing of events or facts” (that is, to tell a story) but also “to count things” (to tell a rosary, for example). The very nature of digital operations and telling thus coincide.’ (Telling vs Counting in, Ernst, Digital Memory and the Archive, 2013, p147-8)
The conjunction between telling stories and counting time is more than just a word game: verbs like conter, contar, raccontare, erzählen, and to tell are testimonies to a way of perceiving realities that oscillates between narrative and statistics.’ (Telling vs Counting in, Ernst, Digital Memory and the Archive, 2013, p149)
I found this work (actually earlier published versions of this work) extremely compelling during the early stages of making this piece, Mark Inscriber.
Ernst also maintains the Medienarchäologischer ‘fundus‘.
In Art Practice
Often this work takes the past as a point for a future imaginary.
Jamie Allen’s ‘The Lie Machine‘
Pablo Garcia’s ‘Profilography‘
Imaginary Magnitude, By Stanislaw Lem
And (though he doesn’t use this term himself) we could think of our own Diego Trujillo-Pisanty’s most excellent ‘This Tape Will Self-destruct‘.
We’ve previously talked about Julian Oliver’s work. He and Danja Vasiliev have a series of workshops around understanding network fundamentals. Jussi Parka points out that,
‘We can speculate that such ideas and practices as Weise7- group’s are an indirect response to what Geert Lovink (2012: 22) has called the need for ‘materialist (read: hardware- and software- focused) and affect-related theory.’ In this case, theory is not executed only in the normal written format but as engineered situations: the other material infrastructures and modes of expression in which power operates, from code to networks.’ Parikka (critically engineered wireless politics, 2013)
He notes that,
‘In real time computing systems, however, the collection, organization and storage of information leads directly to action, to integrated surveillance and control over the object environment. This dynamic marriage of information and control in real time systems is a fusion of knowledge and action, and, through directed action in real time, information is expressed as power. (Sackman, 1968: 1492) (in Parikka,critically engineered wireless politics, 2013)
These workshops (and others like them) are oriented towards a kind of techno-politics based on hacking intervention and self-enablement (however genuine this ends up being). There’s a like-spirited endeavour in this paper which I saw present in Xcoax – a symposium you should all make yourselves aware of.
What does the Sack piece tell us about the way that memory has been conceived of in the history of computer science?
Warren Sack in: Fuller, Matthew. Software studies: A lexicon. Mit Press, 2008.
Electronic Memory in Practice
In this section we are going to have an archaeological look, a dig in fact, at electronic memory. To do this properly there are a certain number of things we need to understand first.
how does binary work?
1 bit – 2 possible states
2 bit – 4 possible states
3 bit – 8 possible states
4 bit – 16 possible states
5 bit – 32 possible states
6 bit – 64 possible states
7 bit – 128 possible states
8 bit (a byte) – 256 possible states
Here’s a way of working out the value:
(image cc wikivisual 2015)
(then add the results : 32+8+2=42)
And here’s another way:
(image cc wikivisual 2015)
(then, again, add the results : 32+8+2=42)
This is how we combine single bits to create more and more memory. But what we are interested in is how, on a the level of both logic and components, this works.
Latches and Flip flops
Latches and flip flops (we can talk about the difference – it depends who you ask) are an essential part of computer memory. Some version of this circuit is inside the most fundamental aspects of computer memory. They are therefore massively significant in thinking about what we mean when we say ‘computer memory’. We are going to build a state saving circuit ( a flip flop) and use it to explore what we do and don’t know about digital memory and how we can use that as part of a research and creative methodology.
History and archaeology of the flip flop.
Here’s the original patent, designed with vacuum tubes.
And what do vacuum tubes do?
How does it work?
Let’s hear a nice (rather slow) explanation. To understand what flipflops are and why they are important we first need to know a few things.
Like what is boolean logic?
How can we combine two NOR gates into an OR gate? Simple (ish)! We invert it! See a bunch of examples here. Take one and explain it to your partner!
Step one: Building a NOR gate
This circuit uses transistors
Transistors are manufactured in different shapes but they have three leads (legs).
The BASE – which is the lead responsible for activating the transistor.
The COLLECTOR – which is the positive lead.
The EMITTER – which is the negative lead.
Here’s our circuit diagram. (and below obviously)
Step Two: Combine two NOR gates into a flip flop.
Look at the diagram below. How should we wire up our NORs to make a flip flop?
It works, what next?
A flip flop gives us a single bit, held in memory (as long as there is power). Here are somethings I want us to discuss:
- what is the significance of holding one piece of memory – what can that memory mean? What can it do? Wittgenstein asks of a man given a piece of paper which asks for 5 apples, the following ‘But how does he know where and how he is to look up the word ‘red’ and what he is to do with the word ‘five’?” Well, I assume that he acts as I have described. Explanations come to an end somewhere.—But what is the meaning of the word ‘five’? No such thing was in question here, only how the word ‘five’ is used.’ What do we mean when we say a bit ‘means’?
- Now imagine we have an encoding system for that bit. e.g. 0 = ‘apple’, 1=’pear’. How does that affect the above?
- Stepping outside this question for a moment – how many real-world applications for the storage of one bit of information can you think of? How about for 2 or 3 bits?
- If we all combined our individual bits into a large register – what could we store? How could we act?
But Why? Let’s talk about that
- What elements of media archaeology (if any) do you identify in your work?
- What would be the impact of this method?
- Returning to our project, how could you take this exploration of digital memory further, how would you develop it?
What is Media Archaeology? Parikka, 2012, Polity
Media Archaeology, Huhtamo & Parikka (eds), 2010
Digital Memory and the Archive, Ernst, 2012, University of Minnesota Press
Deep Time of the Media, Zielinkski, 2008, MIT Press