This collection of essays highlights innovative work in the emerging field of media archaeology. It explores the relationship between theory and practice and the relationship between media archaeology and other disciplines. There are three sections to the collection proposing new possible fields of research for media studies: Media Archaeological Theory; Experimental Media Archaeology; Media Archaeology at the Interface. The book includes essays from acknowledged experts in this expanding field, such as Thomas Elsaesser, Wanda Strauven and Jussi Parikka.

This cutting-edge text offers an introduction to the emerging field of media archaeology and analyses the innovative theoretical and artistic methodology used to excavate current media through its past. Written with a steampunk attitude, What is Media Archaeology? examines the theoretical challenges of studying digital culture and memory and opens up the sedimented layers of contemporary media culture. The author contextualizes media archaeology in relation to other key media studies debates including software studies, German media theory, imaginary media research, new materialism and digital humanities. What is Media Archaeology? advances an innovative theoretical position while also presenting an engaging and accessible overview for students of media, film and cultural studies. It will be essential reading for anyone interested in the interdisciplinary ties between art, technology and media.

Digital Contagions is the first book to offer a comprehensive and critical analysis of the culture and history of the computer virus phenomenon. The book maps the anomalies of network culture from the angles of security concerns, the biopolitics of digital systems, and the aspirations for artificial life in software. The genealogy of network culture is approached from the standpoint of accidents that are endemic to the digital media ecology. Viruses, worms, and other software objects are not, then, seen merely from the perspective of anti-virus research or practical security concerns, but as cultural and historical expressions that traverse a non-linear field from fiction to technical media, from net art to politics of software. Jussi Parikka mobilizes an extensive array of source materials and intertwines them with an inventive new materialist cultural analysis. Digital Contagions draws from the cultural theories of Gilles Deleuze and Félix Guattari, Friedrich Kittler, and Paul Virilio, among others, and offers novel insights into historical media analysis.

“Huhtamo and Parikka, from the first and second generations of media archaeology, have brought together the best writings from almost all of the best authors in the field. Whether we speak of cultural materialism, media art history, new historicism or software studies, the essays compiled here provide not only an anthology of innovative historical case studies, but also a methodology for the future of media studies as material and historical analysis. Media Archaeology is destined to be a key handbook for a new generation of media scholars.” —Sean Cubitt, author of The Cinema Effect "Taken together, this excellent collection of essays by a wide range of scholars and practitioners demonstrates how the emerging field of media archaeology not only excavates the ways in which newer media work to remediate earlier forms and practices but also sketches out how older media help to premediate new ones." —Richard Grusin, author of Premediation: Affect and Mediality after 9/11 “In Media Archaeology, a constellation of interdisciplinary writers explore society’s relationship with the technological imaginary through history, with fascinating essays on influencing machines, Freud as media theorist, interactive games from the 19th century to the present day, just to name a few. As an artist, my mind is set on fire by discussions of the marvelous inventions that never made it to the mainstream, such as optophonic poetry, Christopher Strachey’s 1952 ‘Love letter generator’ for the Manchester Mark II computer, and the ‘Baby talkie.’” —Zoe Beloff, artist and editor of The Coney Island Amateur Psychoanalytic Society and Its Circle "A long-awaited synthesis addressing media archaeology in all of its epistemological complexity. With wide-ranging intellectual breath and creative insight, Huhtamo and Parikka bring together an eminent array of international scholars in film and media studies, literary criticism, and history of science in the spirit of making the discourse of the humanities legible to artist-intellectuals. This foundational volume enables a sophisticated understanding of reproducible audiovisual media culture as apparatus, historical form, and avant-garde space of play." —Peter J. Bloom, author of French Colonial Documentary: Mythologies of Humanitarianism "An essential read for everyone interested in the histories of media and art." —Oliver Grau, author of MediaArtHistories "Media archaeology is a wonderful new shadow field. If you are willing to step outside the glow of new media, this book's approaches can shift how you experience the objects and experiences that fill the new everyday of contemporary life. No one captures the beauty of studying new media in the shadow of older media implements and practices better than Erkki Huhtamo, the Finnish writer, curator, and scholar of media technology and design famous for his creative work as a preservationist and an interpreter of pre-cinematic technologies of visual display. He has teamed up here with Jussi Parikka, the Finnish scholar who has brought us an insect theory of media, to give us this long-awaited collection of essays in media archaeology. The surprise of the book is that the essays collectively bring forward a range of approaches to considering archaeological practice, giving us new ways to think about our embodied and subjective orientations to technologies and objects through the lens of the material remnants of practice, rather than offering a narrow definition of the field. The collection moves between computational machines and influencing machines, preservation and imagination, offering a range of ways to live the new everyday of media experience through the imaginary of archaeology." —Lisa Cartwright, co-author of Practices of Looking: An Introduction to Visual Culture “Where McLuhan’s Understanding Media ends, Media Archaeology actually begins. Refusing the often futile search for the eternal laws of media, Media Archaeology does something more difficult and rare. It literally brings the history of media alive by drawing into presence the enigmatic, heterogeneous, unruly past of the media—its artifacts, machines, imaginaries, tactics, and games. What results is a fabulous cabinet of (media) memories: the imaginary moving with kinetic frenzy, histories of what happens when media collide in the electronic space of the virtual, and stories about those strange interstitial spaces between analogue and digital.” —Arthur Kroker, author of The Will to Technology and the Culture of Nihilism “Rupturing the continuities and established values of traditional media history, this exciting and thought-provoking collection makes a significant contribution to our understanding of media culture, and demonstrates that the presence of the past in present-day media is central to the recognition and re-cognition that media archaeology promotes.” —John Fullerton, editor of Screen Culture: History and Textuality “Here, at last, is a collection of essays that are a critical step to comprehending the history of our impulse to see ourselves in the machines we have made. This could be the beginning of 'Archaeology of Intention.'" —Bernie Lubell, artist “Huhtamo and Parikka’s expertly curated collection is a kaleidoscopic tour of media archaeology, giving us forceful evidence of that unruly domain’s vitality while preserving its wonderful unpredictability. With this essential volume, countless new paths have been opened up for media and cultural historians." —Charles R. Acland, author of Screen Traffic “This brilliant collection of essays provides much needed material and historical grounding for our understanding of new media. At the same time, it animates that ground by recognizing the integral roles that imagination, embodiment, and even productive disturbance play in media historiography. Yet these essays constitute more than a collection of historical case studies; together, they transform the book’s subject into its overall method. Media Archaeology performs media archaeology. Huhtamo and Parikka excavate the intellectual traditions and map the epistemological terrain of media archaeology itself, demonstrating that the field is ripe with possibilities not only for further historical examination, but also for imagining exciting new scholarly and creative futures.” —Shannon Mattern, The New School

Since cinema has entered the digital era, its very nature has come under renewed scrutiny. Countering the 'death of cinema' debate, Film History as Media Archaeology presents a robust argument for the cinema's current status as a new epistemological object, of interest to philosophers, while also examining the presence of moving images in the museum and art spaces as a challenge for art history. The current study is the fruit of some twenty years of research and writing at the interface of film history, media theory and media archaeology by one of the acknowledged pioneers of the 'new film history' and 'media archaeology'. It joins the efforts of other media scholars to locate cinema's historical emergence and subsequent transformations within the broader field of media change and interaction, as we experience them today.

A quest to find something new by excavating the "deep time" of media's development—not by simply looking at new media's historic forerunners, but by connecting models, machines, technologies, and accidents that have until now remained separated. 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. He describes models and machines that make this connection: including a theater of mirrors in sixteenth-century Naples, an automaton for musical composition created by the seventeenth-century Jesuit Athanasius Kircher, and the eighteenth-century electrical tele-writing machine of Joseph Mazzolari, among others. Uncovering these moments in the media-archaeological record, Zielinski says, brings us into a new relationship with present-day moments; these discoveries in the "deep time" media history shed light on today's media landscape and may help us map our expedition to the media future.

The touchscreen belongs to a century-long history of hands-on media practices and touchable art objects. This media-archaeological excavation examines the nature of our sensual involvement with media and invites the reader to think about the touchscreen beyond its technological implications. In six chapters, the book questions and historicizes both aspects of the touchscreen, considering "touch" as a media practice and "screen" as a touchable object.

West's material experiments in film and art explore Southern California's changing geography This debut monograph brings together nearly a decade of "analogital" experiments in film, sculpture and installation by Jennifer West (born 1966)--one of the most committed artists working on the West Coast today. Saturated in a history of avant-garde and Third World cinema (not to mention HIV/AIDS activism and the incipient Riot Grrrl movement) since she was an undergraduate at Evergreen State College, West's work today treads similar ground: challenging the utopianism of new media adoptees as well as the nostalgia of analog-only film adherents. The 11 projects reproduced in the book, all produced between 2014 and 2021, fall under the heading of Media Archaeology, and reveal the historical and material promiscuity of West's experiments in film and art, often tied to the changing geography of Los Angeles and its surrounds.

This collection of essays highlights innovative work in the developing field of media archaeology. It explores the relationship between theory and practice and the relationship between media archaeology and other disciplines. There are three sections to the collection proposing new possible fields of research for media studies: Media Archaeological Theory; Experimental Media Archaeology; Media Archaeology at the Interface. The book includes essays from acknowledged experts in this expanding field, such as Thomas Elsaesser, Wanda Strauven and Jussi Parikka.

In recent years, there has been a growing interest in the use of experimental approaches to the study of media histories and their cultures. Doing media archaeological experiments, such as historical re-enactments and hands-on simulations with media historical objects, helps us to explore and better understand the workings of past media technologies and their practices of use. By systematically refl ecting on the methodological underpinnings of experimental media archaeology as a relatively new approach in media historical research and teaching, this book aims to serve as a practical handbook for doing media archaeological experiments. Doing Experimental Media Archaeology: Practice is the twin volume to Doing Experimental Media Archaeology: Theory, authored by Andreas Fickers and Annie van den Oever.