| new|mecia media A History and Theory Reader Edited by | Wendy Hui Kyong Chun & Thomas Keenan 89 Routledge iQ Routledge |‘mation is irretrievably lost, al purgatorio—they do not ‘nin modern rational times, tlic as well as in a religious accordingly in the book of ains a promise of salvation, ley / Los Angeles London 1 Vismann, Alten. Msietehnte nique and te Law fom Sood ‘Franz Kak und Joan Peter Ay Ramer Set snd Henk In: Kommunition und esti "Cancels: On the Making of taw Deutcher Taschenbuch Ver, 2e0): 16, ak es Semmens Merkur el (Wien /Leipaig:Risogra ‘ent ofthe federal government, “chive law for storage of ved nly 20,3 '3 (Bandesdiciplinarordoang. authority Co queria the che the material became ths an eal esponsbly, 'sKlsine-Brockof and Bruno oek ofa state storey. 1975) (Paris Galimard 930 6 Dis/continuities Does the Archive Become Metaphorical in Multi-Media Space? Wolfgang Ernst In this paper, Ladaress (multi) media archaeology in two parts: frst an epistemological reflection an the term “media archacology”and second, teal case studies. But before begin (arch),1 want to reflect on the term “archaeology of multi-media” ise Having been trained as a historian, a clascist and an archaeologist (inthe disciplinary sense), Ihave always felt uneasy with the pre dominance ofnareativeas the uni-medium of processing our knowledge ofthe past: Theoretically, works Uke Michel Foucault LArchéologie dc Savoir’ and Hayden Whites seminal Metaistory: have helped me expres this unease withthe rhetoric of historical imagination. It tooke howeverra new infrastructure of communicating realities~the impact of digital media to put tis critiqae ofhistorical discourse into media-archacological terms and practice But caution; Even when we 8 of seemingly Pro eee omy an archive ts «coupling of storage mdi, data format (conten) and adds Se scriptural 1 teen ally this implies leaving bebind the description of single objects in favour of an eee investigation of data sets. images tow tg essay “L20co6? G.E, Lessing discusses the aesthetic conflict between the )8i¢ ence oflanponge andthe lgi of mages in terms of genuinely mlm semiotics pic MO ‘able dat Tone declared by Horace—ut pies time-based media (ike dramatic speech and Linear ae tne toner aifer fom space-based media (ike simltansous picres)* Walter Benjamin 0% 2 form, Whe Jatcrent perspective, reterates that history appearsin sudden images rather than naratve TO Gy ea Pane tne Marcy and Eadveard Muybrdgechrono-Photographicaly transform 3 thei (eyes and e sar aly expereneed sequence (movement into spat serie (of screte momen), cvs to human f pe pecent aesthetics ofthe rouse-lik. The digtization of mages today provides sec) 1 basis into the lan reyes confit (ie, the rather simaltaneovs aesthetics of websites 6 oppose ot eral aoe page on te TY screen, s0 thatthe computer mediam can ground that neg on © which perfe aie ee ree nse 10 tee teleological story of image processing that nally reaches Ns art ‘isaal admi esti aon on the contrary, this history of images needs to be revised fom the Gi! Pow ide mer oar ple how ca archives be tlatd to algorithms of image processing of pattern asdescriber recognition and computer graphics? saree sat ts hermeneutics the mediasechaclogcal investigation of nagsarchives oes Clearly. | ot takenvagesascarirs of experiences and meanings. The seltion between vision ne image oo be mani, aon a eas he guideline for investigation, since image procesing by computers can 26 08 respondé aoe aaen using the anthropological semantics ofthe human eye. The methodologic! arog ofprint | Moras ater an archaeology of mult-media based on Claude Shannors athens theory of version ¢ Point natin, as wel asthe practices and concepts of data-structure oriented Progra ha tiennent coe psting rns of the Gutenberggalas. Te ater memoriachave been visual techni poetry aeiaa i inn rom the thetriesof Antiquity tothe Renaissance, Maseums—coletions MGS or pete galleries, catalogues—sice hve aliays dealt with programming mater! 1 ‘banks. ‘The Rene | sae saugal for sual knowledge iterally the age of enlightenment in the eighteenth oT collecting, | Fe ere rcyclopedas and their visualization (like the planches, i. the visual suppleme and the me wake French Eneeopéde ete by Diderot and EAlaiber?). Photography then hay See the itself being « or tchige medium (fom perception to technology, creating thes technical image feb: and be (mathem | aeinscs themoclves have been archives (Hollywood and the rules of image sequences) apparent dis Fie ares to ee programming image-orientedstructuresin the digital databases of °° jumbled ele cally addressable image archive us entirely f image archives priority has been given to the development of visposed to classical image erated image the visual 2s butalways “uid”... AL lus making the notion of terms and verbal indexes. methods of classification he search methods used to are stil limited 19 models exclusively in the form of ‘ages and what part might of images, considering the 's knowledge. In terms of intent) and address struc- Ble objects in favour of an conflict between the logic in semiotics: pictura is no amatic speech and linear ‘Walter Benjamin, froma her than narrative stories, -xansformed an otherwise Jerete moments), close to provides technical basis 2bsites as opposed to the and that investigation. It a finally reaches its aim d from the digital point ® processing, of pattern nofimage archives does onvision and image can. omputers can no longer nethodological starting ‘mathematical theory of oriented programming, been visual techniques 198—collections, images ‘material image banks, the eighteenth century the visual supplement tphy then has been the alimage archives, and ‘equences) ital databases of given essable image archive. SIO LUNTINUIES © 117 By combining Multresolutional image Representation wit archive module might be applied. This wouldallow arte, seapences and neighborhoods. Most operators of image procesingand pave Fecognition such as filters and invariant transformations can be ine rated in the structure of a database in onder 10 a deca ister of iniges. The next sep might be the development ata ‘sal agent capable of “inteligent” retrieval of images by graphical ecko Archival terminology, however, stil carries grammao. 25 id sound menvores should no longer be subjected to unl-medlas tet hac retrieval. Usually, th simple Octeee structures, a variable algorithms by creating different visual interactive ancl foring remembrance outside man; at the ‘ane fits though, itreduced tradition to one channel ofeommmuniontion ie this still rue for the see] repPtonis mlt-media oe, when audio and visual data canbe ee wit scriptural meta-data? tn digital space, when not only every fm ven more every ple in every film frame--can be deren inagesto words bu alphanumerical numbers eer to alphanunercalg abe ae ne mathematical defined space instead of beng a peste sen for memo- aces technoarchie (as dispstive) actively definetie nevosy Jimages. Digital Ra neeangt 2. anthroplogcl prosthesis 0 man, bua geneney medially generated farm, Whereas Kinemstographic forms of natative stl contrnnee Nan, ways of perception (sand ks emesis into technical operations a instrumental tence oes senses (ern fat) electronics ditt images according to its own vlan only remotely connected (Cleary... there isa tension between a system in which be manipulated and rearranged and that sense ofthe ‘ondeg of things” (the steucture of eor sin guce) which underpinned the world views given a new ineree ne by the medium ofprin, Here again thereisa strange resemblance to matern conditions... The early modern lennon pit theory and chaos theory is Montagne’ observation sae “toutes choses se oct PB elque similituds (siiltude binds everything together) and this is where oetry..-enters the realm of the Renaissance Computers” bite-sized pieces ofinformation could "a sclence and antiquaranism™— with analogy bee Ea of semblance a opposed othe Caeahn mgt ana which can be (mathematical) calculated, Collector in he sone Century “imposed structure onthe joey Gera ofthe phenomenal woild by searching oe enna amongst the othervise ema eR of thee study” Stems of resembles ved see may appear to Sen outtous—wee expres by *horuontl or verte ong cabinets an118 « WOLFGANG ERNST illustrations. These efforts were driven by the belief that creation was coherent, and thatthe task cof the scholar was to uncover and display this last coherence—a kind of theological archaeology of knowledge, based on the assumption that what looks contingent to men, isa hidden coherence, ‘kind of pattern recognition in God’ eye: Ina world which seemed to present itself as a wilderness of forms, a variety of analogous or synonymous systems could provide the equivalent of a visual search-engine, rauch as we search a modern electronic database by finding an exact alphabetic or ASCII match for a flagged semantic item....Dominique du Cange, the sixteenth-century French philologist, suggested (incorrectly) that the words ‘musaeum’ and ‘mosaic’ were cognate... What all the cabinets and their encyclopaedias share is a syntax of resemblance or identity which is nearly always signaturis nits insistence an occluded and idiasyncraticaly selected likeness; their patterns are to be read as comparative contingencies or juxtapositions, asa system of potential matches.” Is the notion of the printed encyclopedia as an alphabetical order of things still useful or is it hindrance to thinking the cultural image banks of the future? Similarty-based image retrieval belongs much more to a “senseless formal principle, which is exactly because of its dullness as useful asthe alphabet is ina lexicon™? The Italian art historian Giovanni Morelli praised such senseless method of comparing images as scientific, since it was objective; that is why a current Image retrieval program is named after him: “Its salient feature is tha it matches, sorts and classi- fies pictures exclusively on their visual characteristics” The characteristics that it uses are derived lirecty from the process of digitization, and here the system differs from the historical Morelli ‘method: “The automated “Morelli” system is not concerned with establishing authorship. Itis con cerned with providing an objective means of describing and identifying pictorial characteristics, such as form, configuration, motif, tonality and (ultimately... colour? Since the comparison of images here is ofa simple overlay kind, and points of similarity and difference are recorded during the process of comparison, the central criterion isa simple matching process—a visual equivalent of the well known word search that isa standard feature of every word-processing and database computer software, This process of similarity-based image retrieval is possible only because the digitized image is an image that is stored asa set of quantifiable eleryents." René Descartes once criticized the category of resemblance asthe fundamental experience and primary form of knowledge, denouncing it as a confused mixture that raust be analyzed in terms of identity, difference, measurement, and order, Likewise, the data transfer compression program MPEG-7 tiesto establish standards of content-based audiovisual retrieval: “The goal of MPEG-7 is ‘o provide novel solutions for audio-visual content description’”* A multi-media content description interface, though, is no longer a print-based archive. Media-archaeology thus means rethinking the notion ofthe archive subversively hyper-literally, even at the risk that it might be more useful to replace it media-culturally in favor of agencies of dynamical ransfer. ‘The multi-media archive deals with try time-based media (which are images and sound), with every image, every sound only existing for a discrete moment in time. Freezing an electronic im- age means freezing its tefresh-circle. Already, the temporal order of film is an effect of a ranging of discrete, in themselves statical (photographical) series of images one after another, unlike their correlative digital images, which are not simultancous spatial entities but in themselves already composed by lines, which are refreshed permanently, that is time-based. In both cases, human perception is cognitively betrayed; the better knowledge, though, ison the side of the apparatus. AAs with the Williams-tube in early computing, where images were used for data storage since the picture elements died with a certain temporal deferral, the effect of an electronic “image” for bbumans is based on the minimal after-image intermediary memory—turning the image into 2 slow memory function the sp ap purDIS/CONTINUITIES * 118 I oherent, and that the task »f theological archaeology en is ahidden coherence, she emergence of multi-media archives has confused the clear-cut distinction between the (Stored) ‘ post and (the illusion of) presence and thus is more than just an extension or re-mapping of well | Feown archival practices. The archival phantasms in cyberspace are an ideological deflection ofthe “Archival Phantasras (the Internet) sudden erasure of archives (both hard. and software) in the digital world, “The twentieth century, the frst in history to be exhaustively documented by audio-visual archives, found itself under the spell of what a contemporary philosopher has called ‘archive fever’ a fever that, given the World «variety of analogous engine, much as we ‘or ASCII match for a ry French philologist, e cognate... What all :e of identity which is, cally selected likeness, sitions, as a system of ‘Wide Webs digital storage capacities, is not likely to cool any time soon: Does the archive become metaphorical in multi-media space? This is a plea for archiving the term archive itself for the description of multi-media storage processes, Digital archaeology, though, is not a case for furure generations, but has to be performed in the present already. In the age of iitalizabilty, that is, the option of storing all kinds of information, a paradoxical phenomenon, appears: Cyberspace has no memory." (Cyberspace is not even a space, but rather a topo-logical configuration. That is why the meta | phorical application of the Renaissance ars memoriae to Internet memory is a mis-application, | “There are no lieux de memoire, rather there are addresses. In the Internet, the address structure of communication and the address structure of archival holdings merge into one. From place to puce address: Traditionally, “only what has been stored can be located” —and vice versa.” Today, on the contrary, the Internet generates a “new culture of memory, in which memory is no longer located in specific sites or accessible according to traditional mnemonics, and is no longer a stock to which itis necessary to gain access, with all the hierarchical controls that this enalls™ (called “archontic” by Derrida). Anecessary precondition for any data retrieval isaddressibility, the necessity of being provided with an external--or even internal-address. n Plato’ dialogue Meno “it appears as ifthe matter of memory is but an effec of the application af techniques of recall" there no memory? Is the ‘World Wide Web simply a technique of retrieval from a global archive, or does it mark the begin: rings of literally inventive relationship to knowledge, a media-archaeology of knowledge that is dissolving the hierarchy traditionally associated with the archive? ‘As a machinic net of finite automata, the Internet has no organized memory and no central agency, being defined rather by the circulation of discrete states. Ifthere is memory, it operates a5, a radical constructivism: always ust situationally built, with no enduring storage. This invokes the eatly notion of muscu: as a cognitive and empty. rather than architectural or institutional space: things still useful or ty-based image-retrieval recause of is dullness as 1i Morelli praised such a ve; that is why a current hatches, sorts and classi- cs that it uses are derived m the historical Morelli ing authorship. Itis con- pictorial characteristics, Since the comparison of nceare recorded during ess~a visual equivalent wrocessing and database rsible only because the amental experience and wt be analyzed in terms F compression program “the goal of MPEG-7 is edia content description thus means rethinking it might be more useful “Museacum was an epistemological structure”? Simikly in neurophysiology, memory operates like the imaginary in the formation of mental images: since there is no fixed place for images in the mind (at least not locatable), mental images are generated like images on an electric screen. which have to be constantly refreshed. Oswald Wiener asks whether it makes sense a all to speak of mental images, i they have to be physiologically scanned in a time-based process, ie, as set of discrete (ight-) moments in time”"—in Lessing's sense a shift from visual to temporal indexicality (and vice versa, according to Benjamin). Can the Internet itself be separated from the notion of an<-archive at all? Ifan archive is a hallucination of a comprehensive lot, is then the Internet an. achive? The Internet is no archive indeed, but a collection.* The function of archives exceeds by far mete storage and conservation of data, Instead of just collecting passively, archives actively define what isa all archivable. In so far as they determine as well what is allowed to be forgotten, since ‘the archival operation first of all consists of separating the documents. The question is to know ‘what to keep and shat to abandon" Such is the difference between a paper-based (state-)archive in the strict, memory-institutional sense, and the Internet: The archive is a given, well-defined lots the Internet, on the contrary, i not just @ collection of unforeseen texts, but of sound and images as well, an anarchive of sensory data for which no genuine archival culture has been developed so far in the occident. Tam talking about a truly multi-media archive, which stores images on an nages nd sound), with ezing an eletronic im- san effect of a ranging sr another, unlike theit in themselves already In both cases, human : side of the apparatus. for data storage since electronic “image” for ning the image into a120 + WOLFGANG ERNST image-based method and sound in its own medium (no longer subject to verbal, ie., semantical indexing). And finally. forthe frst ime in media history, one can archive a technological disposi tive ia its own medium.” Disforder ‘What separates the Internet from the classical archive is that its mnemonic logic is more dynamic than cultural memory in the printed archive, Although the Internet still orders knowledge appar ently without providing it with irreversible hierarchies (on the visible surface), the authoritative archive of protocols is more rigid than any traditional archive has ever been. Traffic overload in the computer networks led the Clinton administration to build a new, separate system—the Internet UH, restricted to scientific (and military) communications. Thus the remaining Internet somewhat adopts the so-called chaotic storage method in economy: “The World Wide Web and the rest of the Internet constitute a gigantic storehouse of raw information and analysis, the database of all databases... The more serious, longer-range obstacle is that much of the information on the fn- tetnet is quirky, transient and chaotically ‘shelved”"*—leading to archival phantasins of disorder, At the samme time, memory in eyberspace is subject to an economy of memory not generous to gaps and absences, Data transfer is incapable of transmitting non-information, while “in face-to-face interaction, ‘muuch of what ismost valuable s the absence of information, the silence and pauses between words and phrases.” Cyberspace is based on the assumption that unused space is economic waste—a result of the scarcity of storage capacity in early computing. Is the Internet really a medium through which self-organization produces the first comprehensive cultural memory? ‘This anarcho-archive is rather a uid intermediary Random Access Memory. Who then ar= chives the Internet? “Abandonware Community Triumph’ isthe name of such an initiative, which archives softwate and keeps it accessible, However, this quickly leads to a conflict with copyright, as exemplified by the current discussion over access to the most important of all archives: the files fof the Human Genome Project. With the primt-fuxation of the traditional archival terminology, Wwe run the risk of overlooking the fact that a different kind of archive is being builtin non publi Proprietary ways by entrepreneurs like Bill Gates with his Corbis image banlk, which holds the digital copyright ofa lot of European historical imagery. This image bank, opposed to copyright lawand the “legalistic infrastructure” so well developed for textual authorship (the institution of {he dép6tléga (national libraries), is based on different digital copyrights." Probably two kinds of ‘memories will remain—a radical eupture: Like in Ray Bradbury's Fahrenheit 451 a new memory burns an old one." This nostalgia is of course a phantasm surviving from the age of print. The alternative isa media culture dealing with the virtual an-archive of multi-media in a way beyond the conservative desire of reducing it to clasiicatory order again, Data trash is, positively, the future ground for media-anarchaeological excavations." lt, LArchdoage du Sevoir (Paris Gal, 196). 2. Hayden White, Matahitny (Baltimore obns Hopkins UP, 1979), 3. Sven Spcker, proposal for a esearch project Archive over Storage, Memory. Medi (def 2000) rp 4 tid 5. News reported by Dele Borcher inhi clam “Online” In Die Ze, no 43, 19th October 2400, 46 on related subjects see Brace Strings Dead Media Poet in the WWW, Ina media-genesiogial sense thee aze no proper medi, bit rather 8 consent coming iting of emdig t Josep Vogl Maden- Werden Ges Feral Ard ir Madegechcte Vol 1 (Weimar, Unecrtanne sap, 2001) pp 115-123, ep. p120 (On a proposed “muscu af software programs, ce Wolfgang tlagen, “Der Sl der Source. Anmetkungeo 2u¢ ‘Theorie und Geschichte dr Programmeesprachea: In Hyperk Geschichte Theorie und Kone dite ey cited by M, Martin Wernke ct (Basel / Frankfurt. Mf Seoenka, 19975 30-08, a 6VIS/CUNIINUITIES © 121 ‘verbal Le. semantical a See Friedrich Kies, Sine Kutureshiche der Kuturwisenschaf(Manchew Fink, 2000), 1th lecture Mechnological disjos,- farther Rihand Dienst, Si Lie eal Yve. thor afer alrite (Durham { London: Doe UP Tod f Intec zock coma miodited: 30th October 5000, 10. Onroeda hard Geta: et: Dashes Tekst Bern hd de Ruganginees bis and Hea Nisdort can Untpivordintdelauseuncmpal li a mare label etege Ape History yew wsyeitoryn), andthe urease Computing tpi’ clay elsengeos tegorys0s0jindex hn 1), Konrad Lich, “Verse Kunst. Sofwacepiratn cetten dae digitale Erbe" Die Zeit No. 18 amsary 200,34 refering othe (up no) only exhibition of computer gues athacology inthe Marland Sane eseen o {nized by the group Bectconie Conservancy (ht ware videsopa con) 12, Some links otha kind of sofware hanks to Tian Baumgitel Bell} The Abandanware Comewnity Timp (hpac ol onpthe Air ps wwoenostliagoctn/ Computer Ada Aluir¢S00cehiol te aero tor hipfvnthecedee conjemvemus8index he, 13, Nei Rhode/Ionathan Saves, “niedcton:Paperwords maining the Renaissance Compute! I The Rena sane Compater: Knog Tecnology im the Fs Age of rit, edie by Rhos /Sawdoy teoedon | ek ec Rowtledige 2000) 1-17 (and 13). 14, Nal Rodesonahan Sawday. introduction: Paperwords, Imagining the Renaissance Compute 13 15, Sebati Domsch, “Dishreton iat Maschineusache’ Frankfurter Algemeine Ztung Ne 239% 7 Novernber 2000 36, Se Ro'sachsse,“Das Gein des es 1912.Die Option der Ogasstren drch i Bch, n vegessenes Kapitel Mediengscicht’ teihagen der Wilhelm: Osorald Geseuchaft ex Craton #5 fe toe fat) 38 Sythe tet can—inthebest tation of Ostwald ai” project_beaddrered in henge salon and objet ofthis thems. under: hitp/wrew hese delpiceutechinhol or2d6l/L ne. Helle toa ene Since it encompasses visual cultural artefact of commutation a ui, 17, Tonathan Sada, “Towards he Renasance computer” In The Renaance computer 38 18, Miche Foucault, “Messgs ow bruit” Ins Concours mal 88 ange (22 otobe 1966-6285 (Colloque sur late deta pent neil) reprinted in: ME, Dvtet Bons (baste Gallimard, 1994) So) 500 Co 18. Speker propos np 20, Volker Kah, "ltreltion und Disparitt. Probleme eins Archive der Kins In Archivio dt ig ser Archinwsenschat end ses interdsplntren Unyels, eed by Pidrich eck (Potsdam, Ver. Earn Beene beg 1999)-245-258 (252), 21, See Friedrich Kite, "Von der Lette 24m Bin Horst Wenzel (2), Gutenberg und da ewe 1994), po. 105-117, 22. Te computing pat ofthe computes howe snot storage, bu dynes callaton. 23 See the research projet “Hypertext, Tori nd Gesthichie? University of Kee! (tpJwarwsinikassldife prychipers/eyerea/ntg i) 24, Theodor H. Nelson, "As We Will Think In Frome Mente to Hypertext Vannevar Bus ad the Mind's Machine eed ty ames M, Nyce am Pal Kalin (San DepovLondon: Academic Press 1991), 259 Cts snd 90, 25, Tough somewhat edcing this claim back to bistry isthe ery equestial folding oargament following the feces ofthe bok, 26. Coraela aman Aten. Maoncabndt wad Recht (Fraser Mz Hacer Vetag 2000] (ook jacket exh 7. Our candidate for repacing the desktop is ale "Lifereas” Davi! Gelrniet Mashing Bey: Espen and the ‘Hear’ of Tshnology (New York Basic Books, 1997). 108 2, Bestl Beech, Dey Rundfunk al Kenomoiatonsappara. Rede ber de Pnkton des Rada (1932). In Angee Werke vol 6 Frankie Sahar 1987). 29, RhodesfSewday. The Renatsance Computer, 12 releteing to Vices Gillespie "Medieval Hypertext: mage and Text. kom York Mins” n Of he Sahin of Boks dlevalManorerpi Thi Serbs ard Readers Bsns Prog ta 2B Parkes, Ades edited by PR Robinson and Rivknh Zit (Akers, Eland Scolar Pose 09" 20ae 304 We are amie wit thio the echnical options ofthe re-wrible agree opti ise 31 “Informationen, de ict im exteznen oder internen Spicer ener Dateveerhungsanlageabgeley sind, kbnsen (herhaptnchalsDaton verwendet werden, Der Gra der Oren eri sch Sunn aus den Zsenfenoylcn ‘eiten auf den Speicher” Michael Giese, ‘Als eaten Medien nea waren edienrevelthnes nde Gece he In Rages Weingarten ed), Information one Kommaniaton? De Lost det Sprache Yorn Spel than Maine Fiche, 190}. 75-98 here 86 logic is more dynamic ters knowledge appar. ce), the authoritative ‘Trafic overload in the system—the Internet 1g Internet somewhat 2 Web and the rest of is, the database of al formation on the In- lantasms of disorder tory not generous to ‘to-face interaction, uses between words economic waste—a yamedium through xory. Who then ar. an initiative, which ict with copyright, archives: the files ‘ival terminology, »uilt in non-public, which halds the >osed to copyright, (the institution of bably two kinds of 51a new memory age of print. The tina way beyond is, positively, the (Munich Fink, 9% Meek Eowatds Printing Propaganda, and Maren Luther (DereleyiLas AngeesLondon: Univers ofCaliornia Pres 1994, 19; seals Nei Rhoes!onathan Sawday, The Renatsence spate, hap 23. RhosiesSuvday,Inzeduction: Paperwork. maging the Renatsanee Conte i 34 Rhodes Sanda, “Intros: Paperwork. Imagining the Renaisance Commutee 200, 6: on eat 98: Sex DerncedeKerekiow, “Die somare Kommurskaton” Skrgeurten, Yom Alpe? rn Computer (inches Fink, 1995), 143-158, 38 See Rhode Suda, The Renatance computer? 57. Hens Schafer. troduction to: fck Goody flan WatlKathleen Googh,Ensteung und Pogo der Schrift, sl Friedel Herborh (Frankfurt: Suhrkanp, 191) 7-23 0), ‘Anmerhungea cur 34, Samet Weber, eal othe author 14 October 1898, 1 dgitater station, | 9 La’S Mages “Te Sens the Archive an the Nae of Cyst” Seay Rha, The Renan being of medi: se Univeastteerag,122 * WOLFGANG ERNST 40, Moreen," Silence ofthe Active nd the Ne of Cyberspace! 2 AU Norcon “The Siees othe Acne atid he Neo Gpbeapace” 2 a ich Mori von Hornboscs mst tholoiea ein Phonoraen Archi er 90 see Seas Sv tener Wiel mesic Tan ah. son Hornell esther ed Mastnchapr (Beta low Seb, 998). 40, Jes cheered rane peace 1863 In Osies Complies V dtd Pal Valeri Fam mtn, 57,2, 44, Leah's Mates “The Since ofthe Archie and the Noite of Cyberapice! 27-28. ‘5, Bunion a asta Bern May 200 4G. Jonthan Cory, Tig of the Ober (Cais, MA DAT Pes, 1980). 15, Sgmand Freud, Die Tendon (Lepg/ Wien: & Dest, 190) 438, Se WE, -Horbostels Klanguch Gedichte Funktion von Dokumentaionscchnik” In Kl), Vom totenden bel Leal arkermoretheeaoguer. Vi (Wise) othe cot? Fig Blues den ds 121 Joiners inte Bes arn Copa Belin 200 eth hyped instatonMoskWekKaet). Scrawl he pccendings ofthe Annual Confrence ofthe Internal asscition of Sound and uo ‘Aichives-IASA~, Vienna, 18-23 September 199A Cet of Sued Aci 48, te Sabine Lan, Die Auecione- ht llsameng des Alber Rahn’ to BterFn n Destchlnd (= KINp 1 Jabs sforchang des fhe Fs) (Bu Evalue: Sweet oter Sten, 1992) 120-122. Caf Siumpf actly plored th sbcnce of op memory nthe Btn Phonogram Archive se Oxo oeaban sch Morte vor Horse "Uber de Bedestang des Phonographen fr verglchende Munkwisenachat™ Zehr {fur Bivoiog 36 (908) 222-236 se. Susan 2g “Dar chezaligeBesineePhonogearinrciv” In Annet Lanbentha (od), Sin Mage ‘choi Fine Fess fr Log Phe (sel et a: Rarer 1985, 765-772, here: 77). 51. Onphonopaphie mepbocs of iin indie ns vont sate ase Host Weel *Die isende Rede aod de etree Tee Meaphern dr Medina Petradewatimas Hewusrderang di Ltrawisencah ie by Guard Neamsnn Sista Weimar Meter, 157). sa, Sev art Simon ed), Das Bees Phnom Arch 1909-200 Samminger der eanelen Musk er We, (Bevin VW. 200) 200-218 55. Quoted n Mau Werte, “asi der Wet Summa der Interaionaen Maske Vol XI, No {sonse ar 1910, 300-309 G00) inpaivergit eejetetspbtefindechm Sed the apecogran of sconructed eoring of Woda chats in Ceylon 1907 on the Spa we page Spicer propos op. * fee ean caret ena Hotinann, Berdiche Scrfgusersalun. in Handbucf das Oden, Ris trom Auondrn und drvaen von Alsen der Bearden 2 hl (ence: Otero. 200) 58, Sorte aie oy Toor Ein medion Fimerchiv (a media fiery einer Knick Wochen sft 440918) 8, Chao ele "Lost! Usd Archives As Objects As Monuments” In clog ars 000 - Kune wd We ‘cna forthe ein by pier ass of Reeder dauschen Wiha im Buadesretbnd dr Dentehen induce V ese Labor fr Gata, 2000) ep =, Seclan evden, ‘De Wilichek nog keine Did dbes d utelung der Baoapedin Qnemaigrphica et Medenkinaos Chrtoph Kalen der Knetok Heri, Malini 1998" FrekfurerMlgonne Zt Ne 28 {Bertier Asgabe Bein ton} 3! Nay 200, BSB «1, bapaereedinde £2. hupdlooreddim de -cck/medila/ 3 stern {Mich Fowl id pct nly te sb the Bt of the lnc a an archaeology ofthe mei gus ba inal dies by aang suet of eseateh, hs dont th he tho genection long adn othe Foal family a upon 64, Thank ty Thomas Elser for hs preci fook tthe Quick Time movie See as well Chvstoph Kl “Lost Untound on tbe 900m «, Prete ~ Christoph Kell “encydopsdicinemstografskonsthenk Hetin Moi 2000 G6. Comoran sete records on te Hm-bosed so-so altura Research ns fir Kulturon: fees tt) dating om Je 923 i Jl 1935 he Asche for the Hic the Max once Ine, erin Dahle 1 Aveta, Kaer-Wilea-Gaslacaf, Repost Lac Geastahereaung de WG. no 10 2, Mano Li Parks Uva of Ca 8, Predich Kier “Computerataabetmos” Tn Campus 1950, 297-251 9) 0, Sener man in Wort ani, sto ferer sit evar’ Kal Kras, ro domo ot mando (Mich: Lange, 112) 194 70, Sch ithe nallatin BLOW_UP TM of Angela Balloch in he gallery Shipper & Krome, Bern, September to Novenber 2000, 1. Andes Msn, textual sopplement (Cologne, ly 2000) tobi gta video Workout (1999) 2 3, CaudiaRech,"icel. Earongenmitden ilélmenten”Fraven nde Ltraturwisenchs Rundi 8 (Aap 1996), 58-6458) 74, Ror co authorig of this chaps, hanks to Sten Helden an Ptr Geimer bat Bt). a Santa Barbar) fr reminding me ofthis coresponing scene arin Ieformatians Zitat (Franktarv iNew Yor:ss — DIS/CONTINUITIES © 123, 7, On tecialmages nd the nation ofthe techno agian se: Vem Fase, nian, edited by Scan Bollmannlalth Huser (rat Phen 1998), i Ivar 1900; 0 Sebastian 76 Se Hins Ulich Bek Netarrphoser dev Achve/Probleme dgtalerEinnerangta Metrorphoter Geach Lalprcloge,Arclivar wid my om Computer, ced by Goto Daron (Stare Canna ona habe tg | ¥ 195-257 (223 ‘aul Vinllneix (Pare Ham 7, Hactat Winkler abstract (or his etre “Theorie und Geschichte der Scie the Universi of Paderborn winter | term 2000/2001, 178, Kat Wicket, bn oud Ferchanalyse (Stat: Meter, 1993), 158 79, Roos Sv, The Reece compute 1g: Michele Montagne, Ore omplte ee by Albert | Thudetand Moures Rat Paris: Gallmar, 1982) 1047 andtoN Katherine fen The Coos io Seo ed Models nd Literary States nthe Twentieth Century (hac, NY Coesed Ue 1S) shi” In Kote (o), Vom (0. Cie Preston, “Inthe Willers f Forms ea nd Things i Thome Brown Caines of Coro a Rhoda! "get lderund Zech de Savy, Te Reneissance computer: 170-183 cabstae, Oe allton “Musik Wetkarte) 8. le Pres, the Widens of Form Heat and Thigs in Thoms Browoes Cabinets of Cros 174 of Sound and Audiovsia 80, “mage reveal und visuellet Wissen” Lect by Stefan HeWenreich i EVA conernet ty Belen 1 Nes ber 197 sin Dewschlond [= KINtop ©, Wiliam Vaughan (Birkbeck Collage, Univers of London). “torte Picture Referencing: A Turther Look at Seen 1982), 120-122. Cal ‘Moca Computers and the Htry oft Vol (1992)-7-18 | vesee Oto Abahani 44, Vaughan, “Automated Picture Relrening A Farther Look at Merl": 8 | dalnssenschal Zac 5. Vaughan, “Automated Picture Referencing A Further Look at Mogae | i £6, hitman feprodlstechnoimul-medialCuidedlapegy nba (ec, Studion ar Musi: 1, Dra Sven Sper (2p) ering to Isis Drtid, Ma chive Une npr frione (ar Gli, vere 1965) AL "Die iekendd Rede und 88. Christoph Dresser “Ein veehingnisoles ibe” Die Ze (23 Jane 1995), tnd lterturinenscah 8. Harriet Bradley, “The seduction ofthe archive vices low ad foun History he Human Scenes Vo. 12.No2 (19997 107-129 109, saan Musik der Web, 9. Howard Cay “Meno and the Ince: between memory ai the archive” History ofthe Haman Scieces Vl 12 No.2 (1989) T-11 (10). igetischaftVALXILNo2 31. Gaygil ‘Meso and he internet between memory and the erchiv’:2 92: Palle. “The Mose sls yoy and enassanee enssoloy” umole the His of Coleone na 10889}: 88°78 astra, [ah Rhode /Srday 2000 “nroducton: Paper werd. mapning the Renaoanee Comat i tor Seamamas Hoe, “Ureberrctin det infrmatongselicht™ GRUR tue 1/397 On the technic regula ‘emedicl gaze bt hie ‘Bagot erbersoce beyond legalism see Lawcence esis Cade and oer lant of yberspace Nee Tak Bec ‘ngtstion othe Fasc 1399) 7 12 Sshatian Hanke, “Die neat Flichghet. Wer archivert das Internet? Archiwtaseichailer und Medienachioioe Al Chaistoph Kalle, “Lowe Spqleten i der Miksolounge des WA aber die kun er Ernnereng: terete ne Cons or 00,26. a 1, Cals ering the Redundant Technology nate (ng wantech on) and Mark Nope ww potatland fh stat fr Kuhns ‘rt On the tem “anarchaclogy sce Seid Ziksk, Archdale er Medes (Rem oneal Dok forthe History ofthe Ma 1A: Generalverwatang dt comrespanding scene # (Erantur/MiNew Yor nda (Manic: Lange some, Belin, September 0 999) sucht Rondo (Aug erin,