Discover Top Posts Tagged with #analoguetrace

TRANSVERSAL TRACE

Intelity: #14, C-type matte photograph by Maximilian Tomozei (2015), showing a closeup view of a scratched and degraded electronic security chip. The piece highlights a transversal site between a physical trace and the trace of digital identity as stored in or via the chip. http://www.tomozei.com/intelity/

0h!m1gas, an audiovisual installation with a plexibox housed ant colony, turntables, audio, camera, monitor, variable dimensions, by Kuai Shen (2012). The work shows an example of transversal media practice as something more than ‘multi,’ ‘convergent’ or ‘mixed’ media in that new, bizarre or experimental channels of signal feedback between disparate spheres of communication are facilitated for new knowledge. In this case, nature and technology are ‘connected’ allowing feedback between ant colonies and a media artefact (turntable). http://kuaishen.tv/0hm1gas/

Computerwelt: MOTOROLA 68030, analogue 8x10 format film scan photograph by Christoph Morlinghaus (2015), showing an extreme close-up and long exposure of a Motorola 68030 microprocessor. The image production relies on an analogue photographic process to capture the physical intricacies of a digital signal processor. https://www.wired.com/2016/08/extreme-closeup-computer-hardware-looks-like-tiny-cities/

#analoguetrace #projectnotes #inspiration

Concrete Trace

The mark, like the trace, can sit prior to the unstable referential meaning of signs. As a site between medium and content, Benjamin’s mark, as highlighted by Mules, is a lingering layer of mediation between a material origin and symbolic effect that unavoidably imposes a distance between signifier and signified, or origin and experience, in processes of media reproduction—the trace of the medium standing in reserve and ready to surge forth. Inscriptive medium types suit this perspective and we are reminded of the microscopic registrations and misregistrations in a substrate, traces critical to their operation and characteristics.

Scanning electron microscope image of digital compact disc registration puts by Chris Supranowitz, Institute of Optics, University of Rochester, showing dust and cracks in the substrate

http://www2.optics.rochester.edu/workgroups/cml/opt307/spr05/chris/

Scanning electron microscope images of vinyl grooves by ChrisSupranowitz, Institute of Optics, University of Rochester, showing dust and imperfections in substrate registration

http://www2.optics.rochester.edu/workgroups/cml/opt307/spr05/chris/

#analoguetrace #inspiration

Media increasingly screens itself. To extend the understanding of our media-ontic world, we need to observe inside, behind, and through the medium’s surface effects. The trace of a medium, if followed between the poles of immutable representation and unstable mutable symbolic work, becomes of interest as medium in itself. This thesis highlights articulations of ‘trace’ that traverse assemblages of analogue-digital media couched in network culture and asks: How does the trace of a medium survive transversal analogue-digital media assemblage and what qualities of the trace hold potential in thinking about media cultures and practice?

My PhD is complete and available online through the University of Wollongong’s thesis collection

Abstract: Media increasingly screens itself. To extend the understanding of our media-ontic world, we need to observe inside, behind, and through the medium’s surface effects. The trace of a medium, if followed between the poles of immutable representation and unstable mutable symbolic work, becomes of interest as medium in itself. This thesis highlights articulations of ‘trace’ that traverse assemblages of analogue-digital media couched in network culture and asks: How does the trace of a medium survive transversal analogue-digital media assemblage and what qualities of the trace hold potential in thinking about media cultures and practice? The answer presented hererests on the development of a concept of ‘analogue-trace,’ which is a concept built upon a combination of theories in the writings of Walter Benjamin and various authors on media archaeology and cultural techniques, the ‘deconstructionist’ philosophy of Jacques Derrida and Bruno Latour’s ‘circulating reference’ in ActorNetwork Theory. Images and diagrams are addressed as articulations of the trace throughout the thesis. The key focus is how an investigation of ‘analogue-trace’ as cultural technique informs a media archaeology of the analogue-digital converter(A/DC). The A/DC facilitates three main forms of material-symbolic trace and these are analogue-digital affordance, analogue-digital feedback as an interdependence, and signal ‘distortion’ from reproducing ‘nothing.’ Thus, the thesis uses a broad media archaeological method associated with creative practice and critique, suggesting that, as an operator in an analogue-digital assemblage, the trace is a useful pointer helping to ‘make visible’ and unbox the hidden operations of media technologies that are at work inscribing the ‘analogue-trace’.

#analoguetrace

Trace fossils

#inspiration #analoguetrace

Dialectical Images? Metapictures?

http://www.johnheartfield.com/heartfield-photos-images/heartfield-art/aiz/1932-adolf-superman.jpg, http://www.johnheartfield.com/John-Heartfield-Exhibition/john-heartfield-art/political-art-posters/heartfield-posters-aiz/heartfield-aiz-hitler