Wolfgang Ernst: Digital Memory and the Archive (2012)

“In the popular imagination, archives are remote, largely obsolete institutions: either antiquated, inevitably dusty libraries or sinister repositories of personal secrets maintained by police states. Yet the archive is now a ubiquitous feature of digital life. Rather than being deleted, e-mails and other computer files are archived. Media software and cloud storage allow for the instantaneous cataloging and preservation of data, from music, photographs, and videos to personal information gathered by social media sites.

In this digital landscape, the archival-oriented media theories of Wolfgang Ernst are particularly relevant. Digital Memory and the Archive, the first English-language collection of the German media theorist’s work, brings together essays that present Ernst’s controversial materialist approach to media theory and history. His insights are central to the emerging field of media archaeology, which uncovers the role of specific technologies and mechanisms, rather than content, in shaping contemporary culture and society.

Ernst’s interrelated ideas on the archive, machine time and microtemporality, and the new regimes of memory offer a new perspective on both current digital culture and the infrastructure of media historical knowledge. For Ernst, different forms of media systems—from library catalogs to sound recordings—have influenced the content and understanding of the archive and other institutions of memory. At the same time, digital archiving has become a contested site that is highly resistant to curation, thus complicating the creation and preservation of cultural memory and history. ”

Edited and with an Introduction by Jussi Parikka
Publisher University of Minnesota Press, 2012
Volume 39 of Electronic Mediations
ISBN 0816677670, 9780816677672
265 pages

Reviews: Liam Cole Young (Reviews in Cultural Theory, 2013), Peter Ward (Information & Culture, 2014).

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For more from Wolfgang Ernst see Monoskop wiki.

Donald F. McLean: Restoring Baird’s Image (2000)

Betty Bolton recorded in c1932 by engineer John Logie Baird in an early television experiment (GIF via Continuo Docs)

John Logie Baird, Britain’s foremost television pioneer, experimented with video recording onto gramophone discs in the late 1920s. Though unsuccessful at the time, his experiments resulted in several videodiscs, some 25 years before the videotape recorder became practical. These videodiscs – called Phonovision – remained neglected over the decades, considered by experts as unplayable.

In the early 1980s, the author sought out and restored the surviving Phonovision discs. Using computer-based techniques in an investigation reminiscent of an archaeological dig, the author has not only revealed the images on the discs but also uncovered details of how the recordings were made. The Phonovision discs have now become recognised as one of Baird’s most important legacies.

In 1996 and 1998, amateur ‘off-air’ recordings of the BBC’s 30-line Television Service (1932–35) were found, giving us our first view of what viewers were then watching. The author’s restoration overturns established views on mechanically scanned television, providing us today with a true measure of Britain’s heritage of television programme-making before electronic television.

As well as helping to explain a poorly understood and complex period in television’s history, this unique book, heavily illustrated with previously unpublished or rarely-seen historic photographs restored by the author, sheds light on the achievements of Baird, the development of video recording and the definition and invention of television itself.

Publisher Institution of Electrical Engineers, 2000
Volume 27 of History of Technology series
ISBN 0852967950, 9780852967959
295 pages

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Leshu Torchin: Creating the Witness: Documenting Genocide on Film, Video, and the Internet (2012)

“Since the beginning of the conflict in 2003, more than 300,000 lives have been lost in Darfur. Players of the video game Darfur Is Dying learn this sobering fact and more as they endeavor to ensure the survival of a virtual refugee camp. The video game not only puts players in the position of a struggling refugee, it shows them how they can take action in the real world.

Creating the Witness examines the role of film and the Internet in creating virtual witnesses to genocide over the past one hundred years. The book asks, how do visual media work to produce witnesses—audiences who are drawn into action? The argument is a detailed critique of the notion that there is a seamless trajectory from observing an atrocity to acting in order to intervene. According to Leshu Torchin, it is not enough to have a camera; images of genocide require an ideological framework to reinforce the messages the images are meant to convey. Torchin presents wide-ranging examples of witnessing and genocide, including the Armenian genocide, the Holocaust (engaging film as witness in the context of the Nuremburg trials), and the international human rights organization WITNESS and its sustained efforts to use video to publicize human rights advocacy and compel action.

From a historical and comparative approach, Torchin’s broad survey of media and the social practices around it investigates the development of popular understandings of genocide to achieve recognition and response—both political and judicial—ultimately calling on viewers to act on behalf of human rights.”

Publisher University of Minnesota Press, 2012
Visible Evidence series, Volume 26
ISBN 0816676224, 9780816676224
296 pages

Author’s discussion of the book
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