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Parikka's book offers an excellent overview of connections between the material and social aspects of media technology. He demonstrates that contemporary media forms are rooted to the past by multiple threads - untangling them helps us understand the media frenzy that currently surrounds us.' Erkki Huhtamo, University of California Los Angeles 'A fabulous map of media archaeology that, as its subject compels, produces its territory anew.' Matthew Fuller, Goldsmiths 'The most comprehensive coverage to date of this fascinating area of study. Reviews 'Jussi Parikka offers a lucid, concise, and highly readable account of a new and exciting field - media archaeology. It will be essential reading for anyone interested in the interdisciplinary ties between art, technology and media. What is Media Archaeology? advances an innovative theoretical position while also presenting an engaging and accessible overview for students of media, film and cultural studies.
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The author contextualizes media archaeology in relation to other key media studies debates including software studies, German media theory, imaginary media research, new materialism and digital humanities. Written with a steampunk attitude, What is Media Archaeology? examines the theoretical challenges of studying digital culture and memory and opens up the sedimented layers of contemporary media culture.
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This cutting-edge text offers an introduction to the emerging field of media archaeology and analyses the innovative theoretical and artistic methodology used to excavate current media through its past. All electronics are mounted atop the truss, leaving only the interactive interfaces (such as the Rhythm Tree bags at lower right) visible to the.
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_ Version 2.0, November 1998 To appear in the Journal of New Music Research Figure 1: Overhead view of the Brain Opera Lobby truss structure, as being assembled before a Tokyo run in November 1996. Also discussed are a set of controllers developed for the Brain Opera, but not currently touring with the production, including the Magic Carpet (immersive body sensing with a smart floor and Doppler radar) and an 8-channel MIDI-controlled sonar rangefinder. This paper outlines the hardware and sensor systems behind these devices: the electric field sensors of the Gesture Wall and Sensor Chair, the smart piezoelectric touchpads of the Rhythm Tree, the instrumented springs in Harmonic Driving, the pressure-sensitive touch screens of the Melody Easels, and the multimodal Digital Baton, containing a tactile interface, inertial sensors, and precise optical tracker.
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Another set of instruments was designed for a trio of trained musicians, who used more deliberate technique to perform the composed music. Most of the Brain Opera's installations were intended for the general public, employing different gestural measurements and mappings that allow an untrained audience to intuitively interact with music and graphics at various levels of complexity. This paper describes the array of new musical instruments and interactive installations developed for the Brain Opera, a large, touring multimedia production, where the audience first explores a set of musical modes at a variety of novel, interactive stations before experiencing them in an actual performance.