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1. J.R. Carpenter: Object-Oriented Interview by Andrea Zeffiro

   November 2013 marked twenty years since artist, writer, performer, and researcher J. R. Carpenter first began using the internet as a medium for the creation and dissemination of experimental texts. This interview examines the material, formal, and textual traces of a number of pre-web media – including the LED scrolling sign, the slide projector, and the photocopy machine – which continue to pervade Carpenter’s digital work today.

   J. R. Carpenter - 17.01.2014 - 12:58

2. Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means

   Deep Time of the Media takes us on an archaeological quest into the hidden layers of media development—dynamic moments of intense activity in media design and construction that have been largely ignored in the historical-media archaeological record. Siegfried Zielinski argues that the history of the media does not proceed predictably from primitive tools to complex machinery; in Deep Time of the Media, he illuminates turning points of media history—fractures in the predictable—that help us see the new in the old. Drawing on original source materials, Zielinski explores the technology of devices for hearing and seeing through two thousand years of cultural and technological history. He discovers the contributions of "dreamers and modelers" of media worlds, from the ancient Greek philosopher Empedocles and natural philosophers of the Renaissance and Baroque periods to Russian avant-gardists of the early twentieth century. "Media are spaces of action for constructed attempts to connect what is separated," Zielinski writes.

   J. R. Carpenter - 20.07.2014 - 12:22

3. From the Digital to the Bookbound

   Dear Reader: How are you reading these words? On which device? Through which interface? Can you read the source code of this web ‘page’? Can you re-write it? Why does it matter? We have machines for that, we have apps! In Reading Writing Interfaces: From the Digital to the Bookbound Lori Emerson sets out to demystify the wondrous devices of our digital age by interrogating both the limits and the creative possibilities of a wide range of reading and writing interfaces. For Emerson, interface is an open-ended term – a threshold, a point of interaction between human and hardware, between hardware and software, between reader and writer, and between human-authored writing and the vast corpus of machine-based text relentlessly reading and writing itself behind the surface of the screen.

   J. R. Carpenter - 09.08.2014 - 16:06

4. Archaeologies of Media and Film

   University of Bradford and National Media Museum
   September 3, 2014 – September 5, 2014

   Keynote Speakers: Jussi Parikka, Thomas Elsaesser, Peter Buse

   An international conference on media archaeology organised and hosted by the University of Bradford and the National Media Museum in association with the Royal Television Society and Bradford City of Film.

   The aim of this conference is to bring together researchers, archivists, curators and artists working in the field that has become known as "media archaeology": an approach that examines or reconsiders historical media in order to illuminate, disrupt and challenge our understanding of the present and future.

   The conference is organised and supported by the University of Bradford, the National Media Museum and Bradford City of Film.

   J. R. Carpenter - 04.10.2014 - 13:02

5. Whisper Wire: Code as a 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 writing practices communicated across and through multiple media, multiple iterations, multiple sites, and multiple times. Drawing upon Derrida’s invitation to consider the paradoxical state of the spectre, that of being/not-being, this paper considers the paradoxical state of long-distance communications networks which are both physical and digital, and which 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 rather here and there, past and future, original and copy. The complex temporaility of this in-between state is further articulated through Galloway’s framing of the computer, not as an object, but rather as “a process or active threshold mediating 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).

   J. R. Carpenter - 04.10.2014 - 13:04

6. Writing Coastlines: Locating Narrative Resonance in Transatlantic Communications Networks

   The term ‘writing coastlines’ implies a double meaning. The word ‘writing’ refers both to the act of writing and to that which is written. The act of writing translates aural, physical, mental and digital processes into marks, actions, utterances, and speech-acts. The intelligibility of that which is written is intertwined with both the context of its production and of its consumption. The term ‘writing coastlines’ may refer to writing about coastlines, but the coastlines themselves are also writing insofar as they are translating physical processes into marks and actions. Coastlines are the shifting terrains where land and water meet, always neither land nor water and always both. The physical processes enacted by waves and winds may result in marks and actions associated with both erosion and accretion. Writing coastlines are edges, ledges, legible lines caught in the double bind of simultaneously writing and erasing. These in-between places are liminal spaces, both points of departure and sites of exchange. One coastline implies another, implores a far shore. The dialogue implied by this entreaty intrigues me.

   J. R. Carpenter - 22.11.2014 - 21:44

7. Radio Silence

   This essay takes a media archaeological approach to putting forward haunted media as theory of mediation able to address contemporary networked writing practices communicated across and through multiple media, multiple iterations, multiple sites, and multiple times. Drawing upon Derrida’s invitation to consider the paradoxical state of the spectre, that of being/not-being, this paper considers the paradoxical state of long-distance communications networks. Both physical and digital, they serve as linguistic structures for modes of transmission and reception for digital texts. Composed of source code and output, these texts are neither here nor there, but rather here and there, past and future, original and copy. The in-between state has been articulated in terms of ‘medium’ in Western philosophy since classical times. The complex temporaility of this in-between state is further articulated in this essay through Alexander Galloway’s framing of the computer, not as an object, but rather as “a process or active threshold mediating between two states”.

   J. R. Carpenter - 06.01.2016 - 15:20

8. In the Event of a Variable Text

   Walter J Ong argues: ‘The spoken word is always an event, a movement in time, completely lacking in the thing-like repose of the written or printed word’. Digital writing has given rise to a new regime of enunciation in which written words refuse repose. This essay argues that although spoken, written and printed words operate within radically different temporal planes, spoken words also have thing-like properties and written and printed words also move through time. Digital writing has given rise to a new regime of signification unforeseen by Ong in which written words refuse repose. Jay David Bolter argues that digital writing ‘challenges the logocentric notion that writing should be merely the servant of spoken language ... The writer and reader can create and examine structures on the computer screen that have no easy equivalent in speech’. N Katherine Hayles argues that, in digital media, the text ‘becomes a process, an event brought into existence when the program runs ... The [text] is ‘‘eventilized,’’ made more an event and less a discrete, self-contained object with clear boundaries in space and time’.

   J. R. Carpenter - 31.01.2017 - 12:42

9. Optical Media Archaeologies

   Anthony Enns juxtaposes two models of German media theory in reviewing new works by Oliver Grau and Friedrich Kittler.

   Glenn Solvang - 07.11.2017 - 13:50

10. The Importance and Function of Media Labs for the Preservation of Works of Digital and Electronic Literature

    The aim of current thesis is to propose an applicable model of an archive for works of digital and electronic literature in the context of a media laboratory that would document, collect, preserve and maintain works by native artist/authors in the Turkish scene. This thesis is both intended as a co-mediation that investigates and critiques the material infrastructure of the contemporary archival practices with a trajectory on the now-speculative forms of archival evolution such as DNA- storage through a media archaeological observance of existing examples of media laboratories that focus on the preservation of works of digital and electronic literature; and, rendered as a proposal for an actual archival project that would be utilized so as to establish a certain media laboratory for the archival, collection, documentation, preservation and maintenance of such literary works that defy the print-culture-bound dimension of traditional humanities. It aims to encourage the mediated thinking. By employing works of digital and electronic literature as digital objects, it also provide an ontological grounding for the media inherent thereof.

    Jill Walker Rettberg - 19.08.2018 - 08:04

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