Zombie Media
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An other important reference for this thread:
Abstract:
Zombie media addresses the living deads of media culture. As such, it is clearly related
to the earlier calls to investigate “dead media” by Bruce Sterling and others: to map
the forgotten, out-of-use, obsolete and declared dysfunctional technologies in order
to understand better the nature of media cultural development. And yet, we want to
point to a further issue when it comes to abandoned media: the amount of discarded
electronic media is not only the excavation ground for quirky media archaeological
interests, but one of the biggest threats for ecology in terms of the various toxins they
are leaking back to nature. A discarded piece of media technology is never just discarded
but part of a wider pattern of circulation that ties the obsolete to recycling centers,
dismantling centres in Asia, markets in Nigeria, and so forth – a whole global political
ecology of different sorts where one of the biggest questions is the material toxicity of
our electronic media. Media kills nature as they remain as living deads.Hence, we believe that media archaeology – the media theoretical stance interested
in forgotten paths and quirky ideas of past media cultures – needs to become more
political, and articulate its relation to design practices more clearly. We are not the only
ones that have made that call recently – for instance Timothy Druckrey writes:
“The mere rediscovery of the forgotten, the establishment of oddball paleontologies, of
idiosyncratic genealogies, uncertain lineages, the excavation of antique technologies or
images, the account of erratic technical developments, are, in themselves, insufficient to
the building of a coherent discursive methodology.” [2]We would want to add that in addition to developing discursive methodologies, we
need to develop methodologies that are theoretically rich as well as practice-oriented –
where ontologies of technical media meet up with innovative ideas concerning design
in an ecological context.As such, the other part of the zombie media call is the work of reappropriation
through circuit bending and hardware hacking methodologies – to extend the media
archaeological as well as ecosophic interest into design issues. By actively repurposing
things considered dead – things you find from your attic, the second hand market, or
amongst waste – the zombiefication of media is to address the planned obsolescence of
media technologies which is part of their material nature. In reference to contemporary
consumer products, planned obsolescence takes many forms. It is not only an ideology,
or a discourse, but more accurately takes place on a micropolitical level of design:
difficult to replace batteries in personal MP3 audio players, proprietary cables and
chargers that are only manufactured for a short period of time, discontinued customer
support, or plastic enclosures impossible to open without breaking them. Whether you
can open up things – the famous black boxes of media culture characterized by iPhones
and iPads – is one of the biggest political and ecological questions facing our media
theory and practices too.As a manifesto, five points of zombie media stand out:
1/ We oppose the idea of dead media. Although death of media may be useful as a tactic to
oppose dialog that only focuses on the newness of media, we believe that media never
dies. Media may disappear in a popular sense, but it never dies: it decays, rots, reforms,
remixes, and gets historicized, reinterpreted and collected. It either stays as a residue
in the soil and in the air as concrete dead media, or is reappropriated through artistic,
tinkering methodologies.
2/ We oppose planned obsolescence. As one corner stone in the mental ecology of
circulation of desires, planned obsolescence maintains ecologically unsupportable
death drive that is destroying our milieus of living.
3/ We propose a depunctualization of media and the opening, understanding and hacking
of concealed or blackboxed systems: whether as consumer products or historical
archives.
4/ We propose media archaeology as an artistic methodology that follows in the traditions
of appropriation, collage and remixing of materials and archives. Media archaeology
has been successful in excavating histories of dead media, forgotten ideas, sidekicks and
minor narratives, but now its time to develop it from a textual method into a material
methodology that takes into account the political economy of contemporary media
culture.
5/ We propose that reuse is an important dynamic of contemporary culture, especially
within the context of electronic waste. “If it snaps shut, it shall snap open.” We agree in
that open and remix culture should be extended to physical artifacts.
I think there are a lot of interesting points here. I’d like to bring up a positive of dead media, though: when the death of a media means freedom. For example, with the digitization of cable television, the airwaves are now open for projects like Cracked Ray Tube who utilize transmitted video signals which would have been previously impossible (or maybe just difficult). When is it okay to let a media die for the greater good?
But isnt it the point that Cracked Ray Tube kind of revives the dead medium — so it becomes a zombie medium?
That’s true, but if it hadn’t died in the first place they couldn’t revive it. I guess that’s more the question, really. If we oppose letting anything die, how can we revive it? Or is the idea to create a media world where nothing needs to die?
Dying is a metaphor for abandonment by the masses and no more support/upgrades through the original protocols (that gave birth to the box). This, followed by the unavoidable and always impending ‘upgrade’ culture (of language) will make sure that any technology will finally only be disconnected – speaking some forgotten noisy language.
While the tech is still functioning, it is alienated/disconnected and the mass has forgotten why the tech was created and was supposed to function. What is left is an unruly machine sputtering bizar growly dead language.
This form of obsolescence does not answer to human temporality – dying and reviving was just a metaphor. Instead it follows a non-linear, deep temporality.
(here a short post by Parikka following while criticizing media an-historians such as Zielisnki: http://jussiparikka.net/2012/09/28/a-call-for-an-alternative-deep-time-of-the-media/)
BTW – have you noticed that in some series zombi-ism is depicted as a virus that people already carry, and that their death is more like a transition instead of a sudden threshold needing to be passed?
BTW last year Kyle and James *Cracked Ray Tube gave a workshop on hacking CRT monitors and Tod bailey gave a talk on analogue video signals (NTSC I think) – they spoke about technologies that now are mostly abandoned in favor of DVB and digital video more generally via computers.
GLI.TC/H always makes room for Frankenstein and zombie signals and getting in touch with their language again.
Bouncing off qwentl’s comment “the airwaves are now open” …. How does radio transmission fit into the discussion? Particularly, ‘dead’ air spaces like CB, unlicensed spectrum, etc. Is there a difference between ‘dead’ and ‘unused’? Particularly, when a media ‘dies’ or ‘ends’, it is more-often-than-not a product of commercial shifts rather than an issue of use or users. For instance, in the UK AM/FM radio bands are scheduled to shut down by 2015 and switch to digital.
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This reply was modified 6 months, 2 weeks ago by
jeffkolar.
Yeah, I saw both those workshops last year, actually, which is why I brought them up. I’ve been working with/modifying my transmitter since then and it’s been really rewarding. The only point being that planned obsolescence has its benefits because it allows zombification to occur.
That’s interesting. Especially since you can’t really remove a radio wave. They exist independent of humans’ radio-transmission habits. Will it be a rise of 50s/60s-style pirate radio? Or does the internet render that useless? Maybe some new kind of underground news network/emergency broadcast system?
I want to stress that I dont put so much emphasis in the concept of a technology actually dying. All these technologies are made not in a vacuum but within a history of one superseding the other. They borrow from each other.
Its the ‘future’ humans who dont know how to (or want to) use/listen to them so they mute them (‘call them dead’) poor bastards. So many zombies floating around our heads
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This reply was modified 6 months, 2 weeks ago by
rosa_menkman.
i believe that there are three forms of “death” here. there is zombie media which is covered greatly in the first post.
then there is dead, which Rosa captured really well, in her <a href=”http://working.gli.tc/forums/topic/zombie-media/#post-262>second post in this thread</a>.
finally, there is an extinct media. this would be something that has reached it’s end, much like when an animal is extinct, it’s gone forever [except for the weirdness that is bringing extinct animals back to existence as clones i.e. the wolly mammoth (http://newsfeed.time.com/2012/03/14/the-woolly-mammoths-return-scientists-plan-to-clone-extinct-creature/#ixzz26I6RhUwx)]. for a medium to reach extinction it would have to essentially disappear entirely.
you could even go a step further and apply the IUCN conservation status model (http://en.wikipedia.org/wiki/Conservation_status) or a similar classification system.
Guys I totally missed this discussion (forgot to click on the follow-up button :-/
To add few things, great quote of the day:
When things break down, they are much more interesting than the gadgets that function, channel and regulate our lives. Broken things might poetically and with a Heideggerian hum say to reveal their essence. This is the other side of the apocalyptic – to be understood as “apo-kalyptein – an uncovering or disclosing of what had previously been hidden.” (Gere 2008: 13)
I think a point about dead/undead is trash. A trash or rubbish is also connected to the notion of ownership (or the lack of it):
The Rubbish is what is lost after using a material. It’s also a product without any value. It’s something that we don’t know how to use or what to do with, a resource that waits for a use or can’t be used because of a technological gap. The rubbish is connected to the idea of property, or to be more precise it’s an object without any owner, so when something is trashed it becomes public property.
This is where Zombie Media are connected to planned obsolescence, materiality, consumption (disposable society).
After discussing this thread with a friend, she shared some texts with me that could be relevent to the Zombie Media thread from a course called “Not Enough Africa in Computers”.
Dale Hudson and Patricia R. Zimmermann, “Cinephilia, Technophilia, and Collaborative Remix Zones” Screen (Spring 2009)
Matthew Fuller, “The R, the A, the D, the I, the O: The Media Ecology of Pirate Radio” Media Ecologies: Materialist Energies in Art and Technoculture (MIT Press, 2005)
Brian Larken, “Degraded Images, Distorted Sounds: Nigerian Video and the Infrastructure of Piracy” Signal and Noise: Media, Infrastructure, and Urban Culture in Nigeria (Duke, 2008)
Julian Jonker, “My Life in the Bush of Ghosts. (Fear of Ghosts)” talk given at Unyazi, 3/15/08.
Ben Williams, “Black Secret Technology: Detroit Techno and the Information Age” in Technicolor: Race, Technology, and Everyday Life (NY Univ Press, 2001)
Marcus Neustetter, “Analogue and Digital Anecdotes and Artworks from South Africa” Third Text (May 2009)
Thanks for sharing. Would your friend be interested in Joining this group maybe too?
Unfortunately she lives in L.A. and won’t be able to participate here in Chicago, but I’d be happy to invite her to work with us in the forums.
yes please do, it’s good if we try to keep this thread about making but also maybe build a Biblio and reference list on the topic.
How do we go about keeping this thread about making? Are we proposing ideas or discussing our own projects?
Well a good part of this thread is actually about making a piece together, see previous discussions: http://working.gli.tc/forums/topic/hello/
I think we should do both though, discuss circuit bending / hardware hacking in the context of planned obsolescence and consumption (disposal — e-waste), but keep this in relation to practices and about working together toward a collective project.
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This reply was modified 6 months ago by
Some more references from this pag (Deadmedia project Bruce Sterling): http://www.deadmedia.org/notes/index-cat.html
As-yet unclassified
19.2 “The Readies”
40.5 Bertillonage
42.4 Birth and Death of Memory
28.1 Chindogu
32.2 Chiu-mou-ti Hsing-wu-t’ai
00.7 Cyrograph
43.7 Damaged, obsolete undersea cables
28.9 De Moura’s Wave Emitter
20.0 Dead human languages
20.9 Flower Codes
36.6 Fungal Hallucinogens in Decaying Archives
16.9 Heron’s Nauplius
12.9 ICL One Per Desk
34.1 Immortal Media
03.6 Karakuri; the Japanese puppet theater of Chikamatsu
28.7 Milton Bradley Vectrex: Production History
28.6 Milton Bradley Vectrex
06.9 Piesse’s Smell Organ
26.7 Stillborn med
26.8 Stillborn media
31.5 Toy Artist drawing automaton
47.0 Toy Artist drawing automaton
27.6 US Air Force ‘Clones’ Obsolete Electronics
44.9 Various deceased 20th century media and technics
12.6 Dead media: the Nintendo Virtual Boy, the Logitech Cyberman 3D mouse, the Nintendo Power Glove
44.3 various00.4 Children’s Dead Media
04.9 Kids’ Dead Media 1929: The Mirrorscope, the Vista Chromoscope, the Rolmonica, the Chromatic Rolmonica
05.4 Kids’ Dead Media 1937: the Auto-Magic Picture GunMechanical calculating or measuring (is this media?!)
22.8 Astrolabe; Ctesibius’s Clepsydra Orrery
22.9 Astrolabe in Islam
23.0 Astrolabe in Europe
23.1 Chaucer’s Astrolabe Manual
17.3 Slide Rule29.2 ‘Vinyl Video’ conceptual art project
18th/19th century contrivances with foolish names (usually inventor ego-stroking)
12.7 An Amish Cyclorama
44.5 CYCLORAMA
46.5 Carmontelle’s Transparency
08.1 Chase’s Electric Cyclorama
09.0 Daguerre’s Diorama
34.3 Donisthorpe’s Kinesigraph
41.7 Fantasmagorie, Part One
41.9 Fantasmagorie, Part Three
41.8 Fantasmagorie, Part Two
38.3 Gilbreth’s Chronocyclegraph, Part One
38.4 Gilbreth’s Chronocyclegraph, Part Two
13.8 Kinora
42.2 Kromskop
03.5 Loutherbourg’s Eidophusikon
07.6 Luba Lukasa
37.7 Mareorama; the Cineorama
06.3 Muybridge’s Zoopraxiscope
27.0 Nash’s Logoscope
08.2 Optigan, Opsonar, Orchestron; Mellotron, Chamberlin37.5 Optigan
15.9 Phantasmagoria; Pepper’s Ghost
20.1 Polyrhetor; the 1939 World’s Fair Futurama
15.2 Robertson’s Phantasmagoria; Lonsdale’s Spectrographia; Meeson’s phantasmagoria; the optical eidothaumata; the Capnophoric Phantoms; Moritz’s phantasmagoria; Jack Bologna’s Phantoscopia; Schirmer and Scholl’s Ergascopia; De Berar’s Optikali Illusio; Brewster’s catadioptrical phantasmagoria; Pepper’s Ghost
14.9 Robertson’s Phantasmagoria
15.1 Robertson’s Phantasmagoria
05.8 Russolo’s Intonarumori
02.8 Schott’s Organum Mathematicum
24.2 Schulmerich Magnabell
00.8 Scopitone
07.0 Scott’s Electronium
41.0 Sensorama
17.5 Wide-Screen Movies: Gance’s Polyvision, Waller’s Cinerama02.9 Voder, Vocoder, Cyclops Camera, Memex
05.0 Speaking Picture Book; squeeze toys that ‘speak’
05.2 Refrigerator-Mounted Talking Note Pad
06.6 Elcaset cartridge tape and player
07.3 Soviet “bone music” samizdat recordings
07.4 Talking View-Master
11.1 Indecks Information Retrieval System
13.9 Wilcox-Gay Recordio
15.6 Two-track PlayTape; the Stanton Mail Call Letter Pack
18.2 Dead Synthesizers: the Con Brio ADS 200
20.6 Hotel Annunciator
25.3 Camras’s Wire Recorder
25.9 Talking Greeting Card; Manually-Powered Sound Tape
28.0 Organetta
29.4 Pre-Digital Electronic Instruments
29.9 Philips-Miller Audio Recording System
30.3 Minifon Pocket-size Wire Recorder
30.5 Paper Magnetic-Recording Tape
30.9 Quadraphonics
31.2 Timex Magnetic Disk Recorder
35.8 German military telephony
41.1 Chrysler’s Highway Hi-Fi, pt. one
41.2 Chrysler’s Highway Hi-Fi, pt. two
41.3 SPS Flexowriter
45.3 Seeburg 1000 background music system
46.0 Hotel AnnunciatorElectrical/electronic symbolic information systems including codes
48.3 Non-HTML hypertext authoring systems, circa 1993
21.8 Dead ASCII Variants
24.1 Aldis Lamp; Colomb naval code
47.2 Ephemeral nature of magnetic domains on rotating plattersElectrical/electronic tele-communications (non-internet)
02.1 Canada’s Telidon Network
02.4 Canada’s Telidon network; Australia’s “Viatel” and “Discovery 40″
44.4 Iridium
25.5 Minitel
29.3 Naval SOS Becomes Obsolete
10.2 Nazi U-boat automated weather forecasting espionage network
17.8 Norwegian transport wires
46.8 Undead Media – The Edison Stock Ticker
49.0 Undead Media: The French Minitel System06.0 CED Video Disc Player
45.7 Charactron
42.6 DIVX: Stillborn Media
44.2 DIVX
42.5 Dead UK Video Formats
35.7 Fisher-Price Pixelvision
10.4 General Electric Show ‘N Tell
27.9 Hummel’s Telediagraph
15.5 McDonnell Douglas Laserfilm VideoDisc Player
12.2 MiniCine toy projector
47.4 Monoscopes
29.0 Nixie indicator tube displays; decimal counting tubes
13.0 Philips Programmed Individual Presentation System (PIP)
27.8 RCA SelectaVision Holographic Videofilm
07.9 Sonovision
20.2 Sony Videomat
39.1 Stereoscope; IMAX
38.0 Ultra-Personal Sony Handycam
04.7 Vidscan
27.3 Vinyl Multimedia
38.1 Vinyl Record with Zoetrope
32.5 Winky-Dink Interactive TVElectrical/electronic writing systems (broadly defined)
36.1 Auto-typist
13.3 Edison Electric Pen, Reed pen, and Music Ruling Pen
13.4 Edison Electric Pen
03.3 IBM Letterwriter
19.0 Officially Deleted Digital Documents
40.9 Phonautograph and Barlow’s Logograph
36.7 Robotyper; the Flexowriter
44.7 Telautograph
40.6 Typesetters: a Dead Class of Media WorkersObviously foolish technology misuse (aka boy-with-hammer syndrome)
00.2 “Chaucerian Virtual Reality”
38.6 Information Technology of Ancient Athens, Part One
38.7 Information Technology of Ancient Athens, Part Two
38.8 Information Technology of Ancient Athens, Part Three
38.9 Information Technology of Ancient Athens, Part Four
39.0 Information Technology of Ancient Athens, Part Five
46.7 4-digit clocks? (the Long Now Foundation)17.4 Dead Media Taxonomy
22.7 Definitions & Connections
23.2 Definitions and Connections http://www4.torget.se/artbin/art/oastro.html
23.8 Definitions and Connections
23.9 Definitions and Connections
24.6 Dead Media 1897: The Consumer Context
30.6 Age-Specific Media
37.9 Media History as Contingency
44.8 Dead Media Collectors06.5 Atari Video Music
11.0 CHIPS: Dead Software, Dead Platforms
31.4 Antique Chip FabricatorNon or pre-computer technological symbolic machinery
40.3 Babbage’s Difference Engine
10.5 Bletchley Park Colossus
10.6 Bletchley Park Colossus
03.0 C. X. Thomas de Colmar’s Arithmometer
02.2 Dead Cryptanalytic Devices of World War IINon-electrical/electronic aural
31.6 “Sound Bites” musical candy
10.7 Aluminum Transcription Disk
07.2 Cahill’s Telharmonium
13.6 Cat Piano and Tiger Organ Cat Piano
32.7 Cat Piano, Donkey Chorus, Pig Piano
32.6 Cat Piano
19.9 Duston’s Talking Book
46.6 Echo Cannonade of 1825
14.4 Edison Wax Cylinder
16.0 Edison’s Vertical-Cut Records
06.4 Player Piano; the Pianola; Reproducing Pianos; Reproducing Rolls
24.8 Regina Music Box
25.0 Regina Music Box
14.7 Singing Telegram; death of George P. OslinNon-electrical/electronic visual
23.7 Anschutz’s ‘Electrical Wonder’ arcade peepshow; Anschutz’s Schnellseher; Anschutz’s Projecting Electrotachyscope; Anschutz’s Zoetropes
12.5 Peepshows
33.7 Riviere’s Theatre d’ombres (Part Two)
33.8 Riviere’s Theatre d’ombres (Part Two)
33.9 Riviere’s Theatre d’ombres (Part Two)
33.6 Riviere’s Theatre d’ombres
27.2 Spook Shows
09.8 Theatrophonic televangelism
32.8 Train Token Signals System
33.0 Train Token Signals System
46.9 Undead; the liquid light show Date: Thu, Feb 3, 2000, 02:40 PM
30.2 Vortex Experimental TheaterPre-industrial-age communication
31.8 Ancient Irish fire beacon
27.4 Basque Talking Drum
22.5 Bi Sheng’s Clay Printing Press
21.7 Byzantine Exultent Scroll
47.6 Clay tokens
47.9 Dendroglyphs
24.3 Exchequer Tallies
12.1 Fire Signals and Horse Post on the Great Wall of China
09.9 Hopi town criers
41.5 Horse Posts and Fire Signals of Ancient Mesopotamia
00.3 Inca Quipo aka Quipu
00.1 Inca Quipo
10.3 Inuit Inuksuit
15.7 Inuit carved maps
43.9 MICRONESIAN STICK CHARTS
42.1 Mayan Echo-Recording Staircases
26.1 Monastic sign language
48.6 NASA technology could save vanishing native American languages
34.5 Naragansett Drum Rocks
14.2 Native American Smoke Signals
13.5 New Guinea Talking Drum
30.1 Notched Bones
16.1 Papyrus manuscripts on World Wide Web
32.1 Public Fire Alarms In Colonial Shanghai
48.0 Runic Tally Sticks
38.5 Signals of the Beyazit Tower, Istanbul
04.0 Skytale, the Spartan code-stick
48.2 Totenrotel
30.0 Trail Blazing by Apes
30.4 Trail Blazing in Ancient Australia
25.8 Whistling Networks of the Canary IslandsPhysical transport “media” (movement of objects)
06.1 Eighteenth Century English mail hacks
22.6 Tongan Tin Can Mail
22.7 Tongan Tin Can Mail
29.1 Korean Horse Post
35.9 Dabbawallah delivery service
36.3 Freight Tubes
36.4 Freight Tube Bibliography
37.2 Dead tunnels of Chicago
37.3 Dead tunnels of Chicago; a bibliography
37.4 Dead tunnels of Chicago, eyewitness report
45.9 Leaflet grenades and the Monroe bomb
46.4 Farm produce Postal system34.4 Barlow’s Potatograph
40.1 Bibliocadavers
02.5 Copy Press, the Hektograph, Edison’s Electric Pen, Zuccato’s Trypograph, Gestetner’s Cyclostyle, Dick-Edison Mimeograph, Gammeter aka Multigraph, Varityper, IBM Selectric
24.4 Edison Electric Pen Stencil
13.2 Edison Electric Pen, pneumatic pen, magnetic pen, and foot-powered pen
18.5 Popular fiction formats
24.5 Poster Stamps
33.1 Ramelli’s Book Wheel
33.2 Ramelli’s Book Wheel
40.8 Spirit Duplicators
26.2 Tattoos as media
18.6 library card catalog
18.7 library card catalogTwo general classes: (1) instances or implementations of systems not yet dead; eg. an out-of-print audio CD recording does not qualify as “dead” because the medium — CD ROM technology — is not yet dead. (2) I’m not convinced it’s a medium at all, dead or alive.
26.0 Dead Web Sites
45.5 Del Mar CardioCorder
28.8 Ghost Sites on the Web
16.3 Molecular Abacus
39.3 Mutant Mosquitoes in Subway Tunnels
14.3 Spirit Racket21.2 Brown’s cash carrier
45.0 Cash Carriers (intra-building)
45.1 Cash carriers (intra-building)
21.6 Cash carriers
36.5 Clegg-Selvan pneumatic vehicle; wire conveyors, cash carriers, parcel carriers; the Lamson Tube; pneumatic tube industrial historyElectronic computers and calculators
19.1 Baby Mark I Computer
11.0 CHIPS: Dead Software, Dead Platforms
01.7 Comparator; Rapid Selector
36.8 Computer Game Designer Dies Young, But Outlives Own Games
28.3 Computer Game Emulators
08.3 Computer Games Are Dead (Part 1)
08.4 Computer Games Are Dead (Part 2)
08.5 Computer Games Are Dead (Part 3)
08.6 Computer Games Are Dead (Part 4)
27.1 Computer Jukebox
14.8 Computer Museum History Center; the Adidas Micropacer, the Whirlwind flight simulator, the Apricot Xi, the Cray NTDS
48.5 Computer media becomes obsolete
41.4 Dead Binary Digital Computer (The Manchester Small Scale Experimental Machine–”The Baby”)
21.9 Dead Computer Operating Systems
18.8 Dead Digital Documents (Part One)
18.9 Dead Digital Documents (Part Two)
29.8 Dead Digital Documents
32.4 Dead Digital Documents
11.3 Dead Personal Computers and Typewriters: Some Recommended Books
00.5 Dead Personal Computers
00.6 Dead computational platforms, dead mainframes, and their dates
00.9 Dead computer languages
03.7 Dead memory systems
37.1 Dead supercomputers become furniture
28.4 Mattel Intellivision I/II/III, Tandyvision One, Super Video Arcade, Mattel Entertainment Computer System, INTV System III/IV, and Super Pro System
28.5 Mattel Intellivision I/II/III, Tandyvision One, Super Video Arcade, Mattel Entertainment Computer System, INTV System III/IV, and Super Pro System
47.1 Mechanical Memories (rotating disk, movable pins)
12.6 Nintendo Virtual Boy, the Logitech Cyberman 3D mouse, the Nintendo Power Glove
19.0 Officially Deleted Digital Documents
46.3 Old Hard Drives
46.2 Radio Shack TRS-80 Model 100
49.2 Recycling obsolete computer hardware II (Redundant Technology Initiative)
48.9 Recycling obsolete computer hardware
45.4 Shoup and Smith on early computer ‘paint’ systems, NASA Date: Thu, Jan 6, 2000, 07:52 PM
26.9 Typewriter Ribbon Tins Revived by Computer
42.3 Wind-Up Powerbook
42.3 Wind-Up Powerbook
03.4 Zuse Ziffernrechner; V1, Z1, Z2, Z3 and Z4 program-controlled electromechanical digital computers; the death of Konrad Zuse02.5 Copy Press, Hektograph, Edison’s Electric Pen, Zuccato’s Trypograph, Gestetner’s Cyclostyle, Dick-Edison Mimeograph, Gammeter aka Multigraph, Varityper, IBM Selectric
24.4 Edison Electric Pen Stencil
13.3 Edison Electric Pen, Reed pen, and Music Ruling Pen
13.4 Edison Electric Pen
14.4 Edison Wax Cylinder
16.0 Edison’s Vertical-Cut Records
46.8 Undead Media – The Edison Stock TickerInternet related (tread carefully here)
25.4 Dead Internet Router
26.3 Internet Archival Issues Part One
26.4 Internet Archival Issues Part Two
26.5 Internet Archival Issues Part Three
26.6 Internet Archival Issues Part FourThe magic-lantern and variants
15.0 Dead media: Robertson’s Phantasmagoria; Seraphin’s Ombres Chinoises; Guyot’s smoke apparitions; the Magic Lantern
01.0 Magic Lantern
01.1 Magic Lantern
01.3 Magic Lantern
01.6 Magic Lantern
12.3 Magic Lantern
24.7 Magic Lantern
24.9 Magic Lantern
01.8 Magic Lanterns, Photography, Optical Toys and Early Cinematic Devices
14.1 Velvet Revolution in the Magic Lantern33.3 Camera Obscura (Part Two)
33.4 Camera Obscura (Part Three)
33.5 Camera Obscura (Part Four)
34.0 Camera Obscuras Existing TodayPanorama (more of a cultural phenomenon than a medium, per se)
09.2 Panorama Bibliography
08.7 Panorama
08.8 Panorama
09.1 Panorama
09.3 Panorama
37.6 Railway Panorama
01.5 Silent Film, Diorama, Panorama
13.1 Travelling Panorama03.2 Phonographic Dolls
03.8 Kinetophone; “Kinetophone Project”
04.8 Miniature Recording Phonograph, Neophone Records, Poulsen’s Telegraphone, Multiplex Grand Graphophone and Photophone.
06.8 Popular Science 1932: Naumburg’s Visagraph, Electric Eye Linotype, Ordering Music by Phone
07.8 PhoneVision
09.5 Museum of the Moving Image: Jenkins Radiovisor, Bell Picture Telephone, RGA/Oxberry CompuQuad,
09.6 Theatrophone; electrophone
09.7 Theatrophone; electrophone
10.1 Telephonic Jukeboxes: Shyvers Multiphone, Phonette Melody Lane, AMI Automatic
12.4 Theatrophone, electrophone
16.2 Flame Organ; Burning Harmonica; Chemical Harmonica; Kastner’s Pyrophone
16.5 Phonograph History Part 1
16.6 Phonograph History Part 2
16.7 Phonograph History Part 3
25.2 Mobile Cavalry Telephone
21.3 Mechanical and string telephony
21.5 Mechanical Telephony
28.2 Organetta, Organette, Aurephone, Cecilla, Organina Cabineto, Tournaphone, Cabinetto, Melodia, Musical Casket, Gately Automatic Organ, Tanzbar, Seraphone, and Celestina
30.7 AT&T Telephotography; AT&T Picturephone
31.7 Phonovid Vinyl Video
39.2 Flowers’s Phonoscribe; Flowers’s Phonetic Alphabet
43.6 Acoustic telephone
45.8 TelegraphonePhotography and non-electrical/electronic still-image recording and reproduction
47.8 Cinerama
48.1 Color Movies from Black-and-White Film: Thomascolor
07.5 Dead photographic processes
10.0 Dancer’s novelty microphotographs; Dagron’s balloon post
25.1 Vision III Imaging; Brown’s Relief Projection, Oscillatory Projection, Motional Perspective, Direct Stereoscopic Projection; Brown’s StereophotoDuplikon, Brown’s Kinoplastikon; Brown’s Stereoscopic Transmitter
36.2 Unstable Photographs39.8 Military Pigeoneers of World War Two: Loft Equipment; Pigeoneer Supplies
39.9 Military Pigeoneers of World War Two: Message Holders
39.7 Military Pigeoneers of World War Two: Pigeon Lofts; Loft Routines; Pigeon Banding Codes
40.0 Military Pigeoneers of World War Two: Pigeons by Parachute
39.6 Military Pigeoneers of World War Two: Qualifications
35.3 Military Pigeoneers of World War Two
35.4 Military Pigeoneers of World War Two
35.5 Military Pigeoneers of World War Two
31.3 Pigeon Post
31.9 Pigeon Post
34.2 Pigeon Post
35.0 Pigeon Post
35.2 Pigeon Post
40.4 Pigeon Post
35.6 Pigeon paraphernalia
36.0 Pigeon post; ostrich post
04.5 Pigeon post; the balloon post
04.1 Pigeon post
04.2 Pigeon post
04.3 Pigeon post
04.4 Pigeon post
04.6 Pigeon post
06.2 Pigeon post
44.0 Pigeon spies
42.0 Rene Dagron, Pigeon Post Microfilm Balloonist27.7 Paris pneumatic mail
49.1 Pneumatic Telegraphy
34.6 Pneumatic mail (Part One)
34.8 Pneumatic mail (Part Three)
34.9 Pneumatic mail (Part Three)
34.7 Pneumatic mail (Part Two)
47.7 Pneumatic mail and telegraph systems
39.5 Pneumatic mail
17.9 Pneumatic post
18.0 Pneumatic post
37.0 Pneumatic tube applications
43.8 Pneumatic tube post
36.9 Pneumatic tubes
46.1 Portable pneumatic tube, early multi-media
40.2 Prague Pneumatic Post22.3 Amateur Radio Relay League Radiogram
07.1 Candle-Powered Radio; Bayliss’s Clockwork Radio
47.5 Nazi Volksempfanger Radio
44.1 Newspaper via Radio Facsimile (ref: 37.8)
37.8 Newspaper via Radio Facsimile
19.6 Radio Facsimile Transmitter
24.0 Radio Facsimile Transmitter
35.1 Radio Killed the Vaudeville StarSirens and large-scale public aural signals
29.5 Dead public sirens and horns
29.6 Dead public sirens and horns; tower clocks and chimes; city-wide public address systems; factory whistles; foghorns
30.8 Mechanical Sirens and Foghorns14.0 Fragile formats in synthetic music
18.1 Dead synthesizers: the Hazelcom McLeyvier
18.3 Dead synthesizers: ARP 2600
18.4 Dead synthesizers: the Adaptive Systems, Inc. Synthia19.5 Bain’s Facsimile Telegraphy
38.2 British Foreign Office Abandons Telegrams
19.3 Caselli’s Pantelegraph (Part One)
19.4 Caselli’s Pantelegraph (Part Two)
20.5 Fire Alarms, Burglar Alarms, Railroad-Signal Systems, Hotel Annunciators, District Messenger Services
02.6 Military Telegraphy, Balloon Semaphore
02.7 Mirror Telegraphy: The Heliograph, the Helioscope, the Heliostat, the Heliotrope
32.9 Optical Telegraphy; Heliography
32.0 State-supported dead media; causes of media mortality; Roman relay runners, Mongol horse post, Polybius’s fire signals, British Naval Howe Code, Pony Express, Aztec signals, optical telegraphy
20.4 Telegraph: Bain’s Chemical Telegraph, the telegraph, quadruplex telegraph, House’s Printing Telegraph, Hughes’s Printing Telegraph, Phelps’s Printing Telegraph, Bakewell’s Fac Simile Telegraph, Dial Telegraph
20.7 Telegraph: Inductive Telegraphy
20.3 Telegraph: Morse Pendulum Instrument, Morse Register
22.2 Telegraph: Wheatstone’s Telegraphic Meterometer; *Scientific American* Dead Media References 1867-1875
20.8 Telegraph
39.4 Telegraphic Paper Tape; Digital Paper Tape; Baudot Code; Dead Encoding Formats; ILLIAC; TTY
17.1 Telegraphy Bibliography
25.7 Telegraphy: Cablese, Wirespeak, Phillips Code, Morse Code
29.7 Telegraphy
22.4 Teleplex Morse Code Recorder
05.5 ‘Writing telegraph;’ Gray’s Telautograph; military telautograph; telewriter; the telescriber
08.0 Union telegraph balloons, Confederate microfilm11.8 Baird Mechanical Television, Part One: Technical Introduction
12.0 Baird Mechanical Television, Part Three: Baird Mechanical Television Part 3: Other Countries, Other Systems
11.9 Baird Mechanical Television, Part Two: Technical Introduction
19.7 Baird Projection Television
06.7 Bell Labs Half-Tone Television
11.4 Early/Mechanical Television Systems
11.5 Early/Mechanical Television Systems
11.6 Early/Mechanical Television Systems
19.8 Gould’s 3-D Television
48.7 Grundig 2×4 video cassette recorder format (1980)
23.5 Interactive Cable Television: Cableshop
14.5 Kids’ interactive television: “Captain Power”
11.7 Mechanical Television:Mechanical TV: The General Electric Octagon; the Daven Tri-Standard Scanning Disc; Jenkins W1IM Radiovisor Kit, the Jenkins Model 202 Radiovisor, Jenkins Radio Movies; the Baird Televisor Plessey Model, the Baird Televisor Kit; the Western Television Corporation Visionette
48.4 Obsolete television (historic content)
16.8 PALplus television letterbox format
48.8 Primordial Interactive Television (or Winky-Dink Redux)
16.4 Telelogoscopy; Television Screen News
23.3 VISIDEP 3-D Television
23.6 VisiDep 3-D Television17.2 Blickensderfer Typewriter; the Scientific keyboard
25.6 Burroughs Moon-Hopkins Typewriter/Calculator
01.9 Experiential Typewriter
05.3 Experiential Typewriter
21.0 Henry Mills’ Typewriter
17.0 IBM Selectric Typewriter
11.2 Pneumatic Typewriters
45.6 Typewriters, reactionary use of antiquated
21.1 Typewriters: the Comptometer, the Numerograph, the book typewriter
45.2 mechanical typewriterPlease add you rnane if you are planning on working on the installation ReFunct Media @GLI.TC/H (that way I have a better idea of how many we are): http://working.gli.tc/forums/topic/participants/
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