Media Archaeology Approaches Applications And Implications Pdf

media archaeology approaches applications and implications pdf

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John Potts, What is Media Archaeology?

This book introduces an archaeological approach to the study of media - one that sifts through the evidence to learn how media were written about, used, designed, preserved, and sometimes discarded. Providing a broad overview of the many historical and theoretical facets of Media Archaeology as an emerging field, the book encourages discussion by presenting a full range of different voices. Inter facing Media 6. Media Archaeology.

Media archaeology

Direkt zum Inhalt Direkt zur Navigation. While the number of essays that directly address sound and music is indeed relatively small, [1] recent scholarship exploring the meanings of sound and music in his work has asserted their previously overlooked importance. It asks what epistemic gains can be made via thinking through sound. Research in the growing field of sound studies often draws on work of sensory studies to demonstrate how the hierarchy of the senses has historically emerged in Western modernity, with vision taking on the status of the primary source of knowledge, and hearing, smell, touch and taste following lower down.

The present essay attempts a productive fusion of two approaches. This cross-reading of two apparently disparate parts of Flusser's work will draw from research in sound studies, media studies and media archaeology. The field of media archaeology has tended to focus on visual media such as film and photography thereby not only neglecting the sonic as a research object, but more crucially failing to explore potential an auditory epistemology might offer.

Gestures in Flusser are inextricably linked to automatisms of the everyday. What is at stake for Flusser in the apparatus of Western culture is — in the worse case — the impossibility of functionaries to realize anything but the existing program.

Flusser differentiates between listening to speech and listening to music Flusser 21 and he also refers to the different forms of listening which are at work when listening to operas or ragas, television sport events or political discussions ibid. However, his focus on music can be read as substantiating his intention to draw on the ecstatic potential which music can invoke. His description of the physicality of music shares some commonalities with a contemporary understanding of sound as an affective, vibrational force.

Whether indeed Flusser truly frees himself from romantic inclinations is debatable. The gesture of listening is therefore not an outwardly visible movement, but a movement of sound-waves permeating the body. Flusser pays particular attention to the idea that permanent interconnections between sound and bodies produces a situation that is not explicitly active, yet also not simply passive. The task facing sound studies is how to assess and use how sound moves, without uncritically replicating culturally conditioned notions attached to hearing.

This enforces a generalization of his gesture of listening — aside from listening to music specifically. Secondly, the gesture of listening is constant and ubiquitous, [12] and can grasp the ecstatic potential of sound whilst simultaneously grounding it in its everyday mundanity.

The division into steps is intended to expose the creation of specific stages of historical consciousness which the communication in these modalities enforced and enacted. The sweeping generality of his model can be grasped simultaneously as its major asset as well as its major fault; the model falls victim to the very linearity which he seeks to challenge, as well as being fallible for its massive generalizations. A sub-field of archaeology, archaeoacoustics is part of a multi-sensory archaeology which has emerged in recent decades to incorporate the senses of smell, touch, taste and hearing.

Archaeoacoustic researchers have noted that in sites such as tombs, caves and other structures such as stone circles or pyramids, sound has been profoundly ignored to the great detriment to our understanding. Recent work has established the study of acoustics at archaeological sites as a legitimate field Scarre and Watson For example, empirical research has sought to demonstrate positive correlations between appearances of rock art and peculiar acoustics such as echoes, reverberation, resonance and sound carrying unusually far in specific geographical locations such as Niaux and Le Portel in France, to Horseshoe Canyon Utah and Tito Bustillo in Northern Spain See Reznikoff and Dauvois ; Waller ; Till et al , respectively.

All this work has been motivated by recent attention to the sounding dimension of the past. In this very real sense, a visually-dominant method has long hindered better understandings of archaeological sites.

Thus, archaeoacoustics acts as a stark example of how sonic knowledge and thinking through sound make significant contributions to previous bodies of knowledge, demonstrated here in archaeology. It ignores the potential significance of knowledge produced through sound and listening. The clear visual bias in the model objects, images, writing, technical images can be faulted at a basic level for an implied silence of or deafness to the past.

Thinking through sound blurs the boundaries of the stages of historical consciousness. As I have discussed elsewhere, listening closely to the model at each stage exposes the sonic in various ways — be it via the resonant acoustics in the move from three-dimensionality to two-dimensionality, the complex interaction between speech and writing in the move from two-dimensionality to one-dimensionality, or the sounds inherent in circuitry of technical media in the move from one-dimensionality into zero-dimensionality.

Due to the epochal timescale of the model, these will remain speculative. If the gesture of listening can be endowed with the same ecstatic potential which Flusser ascribes to listening to music, paying attention to the gesture of listening at each stage of his step-by-step model opens up his considerations to profound consequences at each stage. Sterne — who does not appear to address Flusser in his work — argues for a relativization of the historical significance placed by McLuhan on the invention of the phonetic alphabet Sterne It is architecture which becomes key in attempts to explore the audible past in archaeoacoustics.

The gesture of listening, which Flusser so passionately details, can be seen to be caught within the automatism he so passionately warns against. I am a functionary of programs that are alien to me; I am an instrument Can I rebel? I believe I can. Yet, despite the impossibility of drawing steadfast conclusions, this vast epochal timescale affords a certain speculative elasticity.

Arguably the strongest offering from the project of archaeoacoustics to cultural studies is the ambitious endeavor to conceive of a radical otherness which departs drastically from default modern Western paradigms, bearing in mind the danger of unintentionally reproducing these. How this can be seized productively in sound studies remains to be explored. This is precisely the same predicament faced by archaeoacoustics — it cannot be proven exactly how prehistoric humans heard or used sound, but the aim at least for some is to demonstrate an intentionality in the design of archaeological sites, or a correlation between sound and designed features such as rock-art.

If sonic knowledge can be grasped as subjugated knowledge, then a Foucauldian archaeology of media forms and communication has the potential to pose radical challenges about current understandings of the past and present. In the field of media archaeology, work by Friedrich Kittler and Wolfgang Ernst amongst others has undertaken in-depth examinations of auditive media. Most significantly for media-philosophy, his crisis of linearity model remains a powerful framework upon which to think through epochs of communication technologies in their broadest sense and how this has changed historical consciousness over time.

Despite the aforementioned potential risks and dangers of a model as sweeping as his, there is still much to be assessed if we can open up the model to different forms of communication and communication technologies, as widely conceived as possible. Sterne has many criticisms of the Toronto school and many of these criticisms could justifiably be applied to Flusser too.

Sterne pleads for a more rigorous technological history of communication and suggests a renewal of asking basic questions and following them through to new conclusions, in light of post-colonial theory and with a separation of the secular efforts of cultural studies from the explicitly religious aims of Ong. Classen , Howes This is partly due to precedents in this field. However, a criticism of the continued visual dominance and lack of attention to auditive media forms is justified.

Sander Maltez Novaes XI. See e. Lewis-Williams and Clottes See for example Post-History. Flusser Carothers who equates Greek culture before the invention of writing with modern Kenyan culture. Sterne Download PDF. Erweiterte Suche…. Benutzerspezifische Werkzeuge Anmelden.

The Gesture of Listening 1. Annie Goh UK is an artist and researcher working primarily with sound, space, electronic media and generative processes and their social and cultural contexts, based between London and Berlin. In: Flusser Studies Vol. Classen, Constance. Oxon: Routledge, Conkey, Margaret W. Ernst, Wolfgang. Lecture Manuscript. Reference No. Unpublished Manuscript. Ins Universum der technischen Bilder. Die Schrift. Hat Schreiben Zukunft?. Frankfurt am Main: Fischer Verlag In: Program booklet of Salzburger Festspiele Foucault, Michel.

Colin Gordon. New York: Pantheon Books Goh, Annie. Paderborn: Wilhelm Fink Verlag Henriques, Julian. Oxford: Berg New York: Continuum Huhtamo, Erkki and Jussi Parikka e ds. Media Archaeology: approaches, applications, and implications. Berkeley: University of California Press Kamper, Dietmar. Kassabian, Anahid. Oakland: University of California Press Lewis-Williams, David and Jean Clottes. The Shamans of Prehistory: Trance magic and the painted caves. Abrams: New York Maltez Novaes, Rodrigo.

In: Post-History. Minneapolis: Univocal Publishing Reznikoff, Iegor and Michel Dauvois.

The Dimension of Sound in Flusser: Implications for a Sonic Media Archaeology

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Media archaeology

Direkt zum Inhalt Direkt zur Navigation. While the number of essays that directly address sound and music is indeed relatively small, [1] recent scholarship exploring the meanings of sound and music in his work has asserted their previously overlooked importance. It asks what epistemic gains can be made via thinking through sound. Research in the growing field of sound studies often draws on work of sensory studies to demonstrate how the hierarchy of the senses has historically emerged in Western modernity, with vision taking on the status of the primary source of knowledge, and hearing, smell, touch and taste following lower down.

Media archaeology or media archeology is a field that attempts to understand new and emerging media through close examination of the past, and especially through critical scrutiny of dominant progressivist narratives of popular commercial media such as film and television. The theories and concepts of media archaeology have been primarily elaborated by the scholars and cultural critics Thomas Elsaesser , Erkki Huhtamo , Siegfried Zielinski , and Wolfgang Ernst , taking off from earlier work by Michel Foucault on the archaeology of knowledge , Walter Benjamin on the culture of mass media , and film scholars such as C. Ceram on the archaeology of cinema. From Wikipedia, the free encyclopedia.

The advent of "new media" in common parlance, a loose conglomeration of phenomena such as the Internet, digital television, interactive multimedia, virtual reality, mobile communication, and video games , has challenged many scholars to investigate the media culture of late modernity. Research agendas vary from network analysis to software studies; from mappings of the new empire of network economies to analyses of new media as "ways of seeing" or hearing, reading, and touching. Efforts have been made to pinpoint where the "newness" of social networking, interactive gaming, or data mining lies and to lay the foundations for "philosophies" and "languages" of new media. For some researchers, the main concerns are social or psychological, while for others they are economical and ideological, or motivated by search for technological determinants behind the myriad manifestations of media. As different as these approaches may be, studies of new media often share a disregard for the past.

 - Шифр-убийца. Но единственный человек, которому известен ключ, мертв. - А метод грубой силы? - предложил Бринкерхофф.  - Можно ли с его помощью найти ключ.

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