Emotoscope as a media archaeological approach...

the Emotoscope by kenichi okada seems to be a project that takes the media archaeological approach of Erkki Huhtamo. As Huhtamo wrote in his 1995 txt Resurrecting the Technological Past, New Media Artists who take media archaeological approaches scan "technocultural forms, moving back and forth in time". the physical form of the Emotoscope + the formation of the media made w/the device both recast the past, but the question remains the extent to which the Emotoscope articulates itself + thereby positions the artist + those behind the camera nostalgically... - jonCates

Emotoscope - kenichi okada (2007)
http://www.kenichiokada.com/projects/2007/emotoscope.html

"Emotoscope is a device that gives you an experience of missing time." - kenichi okada

"Emotoscope, for example, is a sort of portable camera device, which is capable of changing the viewpoint of whomever films, hence presenting the footage under a different light. What actually happens is that Emotoscope playbacks the video in a grainy, silent movie style, casting onto the image a feel of ancient marvelous stories, which are still impressed onto the very minds of the people who experienced them." - Tony Canonico in Neural.it :: media culture, hacktivism

CARDIAC

short for Cardboard Illustrative Aid to Computing, was a product designed by Bell Labs. It should help to understand the basics of computers and how they operate. The cardboard computer was based on a punched card model.

http://www.boingboing.net/2005/10/20/cardiac-bell-labss-o.html

the machine that changed the world

a series of five documentaries covering the history of computing, produced by WGBH (PBS) and the British Broadcasting Company (BBC) in the early 90ies and including interviews with Konrad Zuse and Presper Eckert.


http://waxy.org/2008/06/the_machine_that_changed_the_world/


The titles of the five parts:

1 - Great Brains
2 - Inventing the Future
3 - The Paperback Computer
4 - The Thinking Machine
5 - The World at your Fingertips

society of algorithm - timeline of art

http://societyofalgorithm.org/networktime/

a great timeline/matrix of art from the 1920ies up to now

public curating project by cont3xt.net

"PUBLICCURATING is an ongoing research-project by the Vienna-based platform CONT3XT.NET collecting methods, resources, and theories concerning the curation of (New) Media, Internet-based, and Video Art."

take a look at their huge archive on media art history, theory, and methods:
http://publiccurating.cont3xt.net/?tag=theories

CACHe

project by Charlie Gere, Paul Brown et.al.

CACHE hosts archive-material of the Computer Arts Society, such as:
a lot of scans of early computer graphic art of the Computer Arts Society or scans of their PAGE-magazine.

Georg Nees, 1969

"The CACHe Project is an archive of pioneering British computer art

From 2002 to 2005 CACHe was based at the Vasari Lab in the School of History of Art and Visual Media, Birkbeck, University of London. It digitised and catalogued the image holdings of the Computer Arts Society and several other archives that charted the development of computer-based art in the UK. These archives offer a unique record of the evolution of digital imagery in the 1960s and 1970s.

The core archive of art works collected by the Computer Arts Society has now been acquired by the Victoria and Albert Museum."

http://www.e-x-p.org/cache/CAShistory.htm

Computerkunst

http://www.computerkunst.org/

Website of Christoph Klütsch,
with a timeline of early exhibitions of computer art (http://www.computerkunst.org/exhibitions.html), a bibliography (http://www.computerkunst.org/Lit_early_dig_computerart.html), a linklist to artists' websites and especially: http://www.computerkunst.org/Kluetsch_Art_Metaphysics_2006.pdf

bit international

bit international
[Nove] tendencije - Computer
und visuelle Forschung
Zagreb 1961-1973

ZKM, 23.02.2008-22.02.2009

http://www02.zkm.de/bit/

"Mit dieser Ausstellung widmet sich das ZKM | Karlsruhe einer der wichtigsten internationalen künstlerischen Strömungen der 1960er Jahre, den Neuen Tendenzen, und ihrer Bedeutung für die Geschichte der computergestützten Künste. 1968 entschieden sich die Neuen Tendenzen, den Computer als Mittel künstlerischen Arbeitens in ihr Programm aufzunehmen, um so ihren Avantgarde-Anspruch zu behaupten und an der Definition einer Technologie mitzuwirken, von der man vermutete, sie würde die Zukunft der Zivilisation bestimmen. [...]"

Early Computer Graphics @ Translab Website

http://translab.burundi.sk/code/vzx/index.htm#9

from the website:

"In the early 1960s digital computers became available to artists for the first time
(although they cost from $100.000 to several millions, required air conditioning, and
therefore located in separate computer rooms, uninhabitable 'studios';
programs and data had to be prepared with the keypunch, punch cards then fed into the computer;
systems were not interactive and could produce only still images).
The output medium was usually a pen plotter, microfilm plotter (hybrid bwn vector CRT
and a raster image device), line printer or an alphanumeric printout, which was then manually
transferred into a visual medium.

Two main centers of computer art activities:
The Murray Hill lab, Bell Laboratories, New Jersey, us (now AT&T),
Technische Universitat Stuttgart, de (Max Bense)

LIST OF MENTIONED ARTISTS

Ben F Laposky 1952-56
Herbert Franke 1953-55, 1953, 1961-62, 1969 (+ Peter Henne), 1970-71, 1975, 1975, 1978, 1978
William Fetter 1960
A Michael Noll 1962, 1963, 1964, 1964
Charles Csuri 1963, 1968, 1968
Ivan Sutherland 1963
Kenneth Knowlton 1963 (+ Lillian Schwartz), 1964 (+ Stan Vanderbeek), 1966 (+ Leon Harmon)"
John Whitney sr 1963-66, 1967, 1975
Stan Vanderbeek 1964
Frieder Nake 1965
John Stehura 1965-69
Tony Pritchett 1968
Georg Nees 1968-71
Vera Molnar 1968-69, 1974
Edward Zajec 1969-70, 19691971
Manfred Mohr 1969, 1974-76, 1977, 1978
Mark Wilson 1973
Joan Truckenbrod 1975
Tony Longson 1975, 1978 

Re:live CFP

MEDIA ART HISTORY 09
Re:live
Third International Conference on the Histories of Media Art, Science and
Technology
Melbourne 26-29 November 2009

Call For Papers – Deadline 19th December 2008
http://www.mediaarthistory.org

Sponsored by Leonardo and the Victorian College of the Arts (University of
Melbourne)

Following the success of Media Art History 05 Re:fresh in Banff and Media
Art History 07 Re:place in Berlin, Media Art History 09 Re:llve in Melbourne
will host three days of keynotes, panels and poster sessions Media Art
History 09 - Re:live, a refereed conference, is calling for papers, panels
and posters on the histories of digital, electronic and technological media
arts. With the theme of Re:live we are especially interested in expanding
the range of topics to include sustainability, live arts and the
technological arts of life, both organic and nonorganic.

How do the media arts change? Through innovation, accident, discovery,
mutation or crisis? How did contemporary media arts come to look and sound
like they do? What options and potentialities and eccentricities in the
history of media have been lost or overlooked or suppressed? What hopes have
been realised and which dashed? What is the history of speculation on
alternate histories, and how have they altered the course of media art
history?

Participants are asked to address at least one the following areas in their
abstract:
- histories of the art-science-technology connection in particular works,
careers, exhibitions and institutions, especially in national and regional
perspective
- histories of biology, the life sciences and bioart in relation to media
arts
- histories of the environment, environmental sciences, ideas of
sustainability and ecology in the discourses and practices of media arts
- histories of liveness and performance in relation to media arts theory and
practice, including network performance, multimedia performance and the
relation of media to the histories of theatre
- histories of the life of machines, cyborgs, virtual communities and the
arts of transmission
- histories of the liveness of real-time arts and art-science-technology
collaborations in such areas as earth sciences, meteorology and astronomy
- histories of innovation, accident, discovery, and speculation on
alternative futures in media arts

We particularly wish to encourage presentations from and about these
histories in the Asia-Pacific region. Proposals are welcomed from artists,
curators, arts organisers and researchers in media, art history, performance
studies, literature, film, and science and technology studies.

Selected papers from the conference will be published in Leonardo (MIT
Press). We are negotiating with academic presses for one or two anthologies
from the conference.

Submissions: A dedicated website with updates and online paper submission
system is available at http://www.mediaarthistory.org. Abstracts of
proposals, panel presentations and posters should be submitted in either
text, RTF, PDF or Word formats

Deadline for 200 word abstracts: 19th December 2008.
Please submit proposals at:
http://moodle.donau-uni.ac.at/relive/openconf.php

Sean Cubitt and Paul Thomas, conference co-chairs.

Prof Sean Cubitt
scubitt@unimelb.edu.au
Director, Media and Communications Program
Faculty of Arts
Room 127 John Medley East
The University of Melbourne
Parkville VIC 3010
Australia

Tel: + 61 3 8344 3667
Fax:+ 61 3 8344 5494
M: 0448 304 004
Skype: seancubitt
http://www.culture-communication.unimelb.edu.au/media-communications/
http://homepage.mac.com/waikatoscreen/seanc/
http://seancubitt.blogspot.com/
http://del.icio.us/seancubitt

Editor-in-Chief Leonardo Book Series
http://leonardo.info