On Interpolatable Archives, Part 1: Compulsions to Connect, Warburg, Borges and Goldsmith, Cultural Technologies and Digital Oralities
Library — The Idealists Collective
Discover Europe’s digital cultural heritage
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Cameron's World
🌍 A web-collage of text and images excavated from the buried neighbourhoods of GeoCities.
Technate of America
Digitized content from the collections of Cornell University Library
The Grid: A Lecture on Cybotron and Techno-Vernacular Expressionism by DeForrest Brown, Jr.
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Tales of Darkness and Light: Soso Tham’s The Old Days of the Khasis
Utopian media studies: Introduction
This introduction to the special issue ‘Utopian Media Studies’ sketches a framework for how media studies can become a site of utopian praxis, research and experimentation. It first addresses three apprehensions media scholars might have about the notion of utopian media studies and its appeal to a loaded concept like ‘utopia’. The introduction then outlines five sensibilities to explicate the nature and significance of this special issue’s contribution to the field: a utopian media studies must adopt an ecological approach to media; recognize and be invigorated by limits; work toward the technological liberation of time; connect imagination with practice; and emphasize and enable conditions for transmitting hope. Lastly, the introduction considers Ruth Levitas’s distinction between utopia’s archaeological, ontological, and architectural mode to map some of the concrete ways in which existing media studies research is doing utopian work that aligns with these sensibilities. In connecting work that operates in these modes with the various contributions to this special issue, the introduction reveals the utopian currents that already run through media studies as a discipline and opens up new conceptual and methodological approaches to studying and modeling digital utopias.
Utopian media studies: Introduction
This introduction to the special issue ‘Utopian Media Studies’ sketches a framework for how media studies can become a site of utopian praxis, research and experimentation. It first addresses three apprehensions media scholars might have about the notion of utopian media studies and its appeal to a loaded concept like ‘utopia’. The introduction then outlines five sensibilities to explicate the nature and significance of this special issue’s contribution to the field: a utopian media studies must adopt an ecological approach to media; recognize and be invigorated by limits; work toward the technological liberation of time; connect imagination with practice; and emphasize and enable conditions for transmitting hope. Lastly, the introduction considers Ruth Levitas’s distinction between utopia’s archaeological, ontological, and architectural mode to map some of the concrete ways in which existing media studies research is doing utopian work that aligns with these sensibilities. In connecting work that operates in these modes with the various contributions to this special issue, the introduction reveals the utopian currents that already run through media studies as a discipline and opens up new conceptual and methodological approaches to studying and modeling digital utopias.
Maggie Appleton
Maggie's digital garden filled with visual essays on programming, design, and anthropology
Internet Archive
We saw the www.lostlandscapes.org show which was put on to benefit the Internet Archive which suffered from a fire recently. The show featured footage of SF from the 1920s to 1980s. The soundtrack is the crowd, as they yell out recognized locations and ask questions, etc. The Internet Archive (which has the Wayback Machine) is located in a former church. The grand hall is where the show was held, and you can see that the church pews are still in tact. In the alcoves at the back are two server racks which store the master copy of the archives. On the edges are little statues. Those are representations of people who dedicated many hours volunteering for the archive. The one I happened to photograph is Aaron Swartz.
