Plug-Ins

Embodiment

  • Erkki Huhtamo, “Twin-Touch-Test-Redux: Media Archaeology Approach to Art, Interactivity, and Tactility” In Oliver Grau, ed., MediaArtHistories (Cambridge: MIT Press, 2007): 71-101.
  • Mark B. N. Hansen, Introduction In New Philosophy for New Media (Cambridge, MA: MIT Press, 2004): 1-18.
  • Laura U. Marks, Touch: Sensuous Theory and Multisensory Media (Minneapolis: University of Minnesota Press, 2002).
  • John Durham Peters, “History of an Error: The Spiritualist Tradition” In Speaking Into the Air: A History of the Idea of Communication (Chicago: University of Chicago Press, 1999): 63-108.
  • Jonathan Sterne, “Audile Technique and Media” In The Audible Past: Cultural Origins of Sound Reproduction (Durham: Duke University Press, 2003): 137-177.
  • Vivian Sobchack, “What My Fingers New: The Cinesthetic Subject, or Vision in the Flesh” and “The Scene of the Screen: Envisioning Photographic, Cinematic, and Electronic ‘Presence’ In Carnal Thoughts: Embodiment and Moving Image Culture (Berkeley: University of California Press, 2004): 53-84, 135-162.
  • Michele White, “The Flat and the Fold: A Consideration of Embodied Spectatorship” In The Body and the Screen: Theories of Internet Spectatorship (Cambridge, MA: MIT Press, 2006): 177-197.

 

"My Record Player" by Great Beyond on Flickr: http://www.flickr.com/photos/tonyjcase/2262225754/

Recorded Sound

  • John Corbett, “Free, Single, and Disengaged: Listening Pleasure and the Popular Music Object” October 54 (Autumn 1990): 79-101.
  • John Davis, “Going Analog: Vinylphiles and the Consumption of the ‘Obsolete’ Vinyl Record” In Charles Acland, Ed., Residual Media (Minneapolis: University of Minnesota Press, 2007): 222-236.
  • Frances Dyson, Sounding New Media: Immersion and Embodiment in the Arts and Culture (Berkeley: University of California Press, 2009).
  • Aden Evans, Sound Ideas: Music, Machines, and Experience (Minneapolis: University of Minnesota Press, 2005
  • Lisa Gitelman, “Imagining Language Machines” In Scripts, Grooves, and Writing Machines: Representing Technology in the Edison Era (Palo Alto: Stanford University Press, 1999): 62-96.
  • Greg Hainge, “Vinyl Is Dead, Long Live Vinyl: The Work of Recording and Mourning in the Age of Digital ReproductionCulture Machine (2007).
  • Caleb Kelly, Cracked Media: The Sound of Malfunction (Cambridge, MIT Press, 2009).
  • Stan Link, “The Work of Production in the Mechanical Aging of an Art: Listening to Noise” Computer Music Journal 25:1 (2001): 34-47.
  • Hillegonda C. Reitveld, “The Residual Soul Sonic Force of the 12-inch Dance Single” In Charles Acland, Ed., Residual Media (Minneapolis: University of Minnesota Press, 2007): 97-114.
  • Jonathan Sterne, The Audible Past: Cultural Origins of Sound Production (Durham: Duke University Press, 2003).
  • Will Straw, “The Music CD and Its Ends” Design & Culture 1:1 (2009): 71-92.
  • Emily Chivers Yochim & Megan Biddinger, “‘It Kind of Gives You that Vintage Feel’: Vinyl Records and the Trope of Death” Media, Culture & Society 30 (2008): 183-95.
  • Some Pinboard links on “records” and “cassettes” and some other relevant stuff.

 

"Handwriting" by CraftyDogma on Flickr: http://www.flickr.com/photos/craftydogma/4394008146/

Letters and Handwriting

  • Jennifer Adams, “Recovering a Trashed Communication Genre: Letters as Memory, Art, and Collectible” In Charles Acland, Ed., Residual Media (Minneapolis: University of Minnesota Press, 2007): 185-199.
  • Kitty Burns Florey, Script & Scribble: The Rise and Fall of Handwriting (Brooklyn: Melville House, 2009).
  • Sigmund Freud, “A Note Upon the Mystic Writing Pad” In The Complete Psychological Works of Sigmund Freud, Vol. 19, Trans. James Strachey (London: Hogarth Press, 1971).
  • Lisa Gitelman, “Making History, Spelling Things Out” In Scripts, Grooves, and Writing Machines: Representing Technology in the Edison Era (Stanford: Stanford University Press, 1999): 21-61.
  • Esther Milne, “Email and Epistolary Technologies: Presence, Intimacy, DisembodimentFibreculture 2.
  • Sonja Neef & José van Dijck, Sign Here!: Handwriting in the Age of New Media (Amsterdam: Amsterdam University Press, 2006).
  • Denise Schmandt-Besseratt, How Writing Came About (Austin: University of Texas Press, 1996).
  • Tamara Plakins Thortin, Handwriting in America: A Cultural History (Yale University Press, 2006).
  • José van Dijck, “Composing the Self: Of Diaries and LifelogsFibreculture 3.
  • My Pinboard links on handwriting and notes.

 

Letterpress! by JChong on Flickr: http://www.flickr.com/photos/jenniferchong/4412259677/in/photostream/

Typewriter

  • Lisa Gitelman, “Automatic Writing” In Scripts, Grooves, and Writing Machines: Representing Technology in the Edison Era (Palo Alto: Stanford University Press, 1999): 184-218.
  • Friedrich A. Kittler, Gramophone, Film, Typewriter, trans. Geoffrey Winthrop-Young (Palo Alto: Stanford University Press, 1999).
  • Martin Stingelin, “Comments on a Ball: Nietzsche’s Play on the Typewriter” In Hans Ulrich Gumbrecht and K. Ludwig Pfeiffer, Eds., Materialities of Communication, Trans. William Whobrey (Palo Alto: Stanford University Press, 1994): 70-82.
  • Darren Werschler-Henry, The Iron Whim: A Fragmented History of Typewriting (Toronto: McClelland & Stewart, 2005).
  • My Pinboard links on the typewriter.

 

"Why I Love My Vintage Cameras" by KatieW on Flickr: http://www.flickr.com/photos/katiew/2302948632/

Photography

  • George Baker, “Photography’s Expanded Field” October 114 (Fall 2005): 120-140.
  • Eduardo Cadava, Words of Light: Theses on the Photography of History (Princeton: Princeton University Press, 1997).
  • Jonathan Crary, Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (Cambridge: MIT Press, 1990).
  • Elizabeth Edwards, “Material Beings: Objecthood and Ethnographic Photographs” Visual Anthropology 17:1 (April 2002): 67-75.
  • Elizabeth Edwards & Janice Hart, Eds., Photographs Objects Histories: On the Materiality of Images (New York: Routledge, 2004).
  • W. J. T. Mitchell, What Do Pictures Want?: The Lives and Loves of Images (Chicago: University of Chicago Press, 2005).
  • Michael Shanks, “Photography and Archaeology” In Brian Leigh Molyneaux, Ed., The Cultural Life of Images: Visual Representation in Archaeology (New York: Routledge, 1997): 73-107.
  • Susan Laxton, “Flou: Rayographs and the Dada Automatic” October 127 (2009): 25-48.

 

"Old Books" by Lilah Pops on Flickr: http://www.flickr.com/photos/lilahpops/2420799856/

Print/The Book

  • Nicholas A. Basbanes, A Splendor of Letters: The Permanence of Books (New York: HarperCollins 2003).
  • Roger Chartier, Forms and Meaning: Texts, Performances, and Audiences from Codes to Computer (Philadelphia: University of Pennsylvania Press, 1995).
  • Roger Chartier, The Order of Books (Palo Alto: Stanford University Press 1992).
  • Johanna Drucker, The Visible Word: Experimental Typography and Modern Art, 1909-1923 (Chicago: University of Chicago Press, 1994).
  • Jan-Dirk Müller, “The Body of the Book: The Media Transition from Manuscript to Print” In Hans Ulrich Gumbrecht and K. Ludwig Pfeiffer, Eds., Materialities of Communication, Trans. William Whobrey (Palo Alto: Stanford University Press, 1994): 32-44.
  • Peter Stallybrass, ‘The Library and Material Texts” PMLA 119:5 (October 2004): 1347-1352.
  • Garrett Stewart, “Bookwork as Demediation” Critical Inquiry 36 (Spring 2010): 410-457.
  • My Pinboard links on books and textual form, books as material texts, and on e-books.

 

"Paperwork" by Sean Rogers1 on Flickr: http://www.flickr.com/photos/rogerss1/2852660211/

Paperwork/Files

  • Lisa Gitelman, “Paperwork and Performance” In Scripts, Grooves, and Writing Machines: Representing Technology in the Edison Era (Stanford: Stanford University Press, 1999): 148-183.
  • Malcolm Gladwell, “The Social Life of Paper” The New Yorker (March 25- 2002): 92-96.
  • Ben Kafka, “The Demon of Writing: Paperwork, Public Safety, and the Reign of Terror” Representations 98 (Spring 2007): 1-24.
  • Sven Spieker, The Big Archive: Art From Bureaucracy (Cambridge: MIT Press, 2008).
  • Cornelia Vismann, Files: Law and Media Technology (Palo Alto, CA: Stanford University Press, 2008).
  • Rowan Wilken, “The Card Index as Creativity MachineCulture Machine 11 (2010).

 

"Forgotten Projector" by Morgennebel on Flickr: http://www.flickr.com/photos/morgennebel/3177889360/

Film

  • Giuliana Bruno, Atlas of Emotion: Journeys in Art, Architecture, and Film (New York: Verso, 2002).
  • Boaz Hagin, “Examples in Theory: Interpassive Illustrations and Celluloid Fetishism” Cinema Journal 48:1 (Fall 2008): 3-26.
  • Miriam Bratu Hansen, “Benjamin’s Aura” Critical Inquiry 34 (Winter 2008): 336-75.
  • Amelie Hastie, “Detritus and the Moving Image: Ephemera, Materiality, History” Journal of Visual Culture 6:2 (2007): 171-174.
  • Pavle Levi, “Cinema by Other Means” October 131 (Winter 2010): 51-68.
  • Dominique Paini, “Should We Put an End to Projection?” October 110 (Fall 2004): 23-48.
  • Vivian Sobchack: Carnal Thoughts: Embodiment and Moving Image Culture (Berkeley: University of California Press, 2004).
  • Jonathan Walley, “The Material of Film and the Idea of Cinema; Contrasting Practices in Sixties and Seventies Avant-Garde Film” October 103 (Winter 2003): 15-30.

 

"Old TV" by Mela Sogono on Flickr: http://www.flickr.com/photos/fadedmilkyway/4284618678/

Television

  • Anna McCarthy, Ambient Television: Visual Culture and Public Space (Durham: Duke University Press, 2001).
  • Anna McCarthy, “From Screen to Site: Television’s Material Culture, and Its Place” October 98 (Fall 2001).
  • Lynn Spigel, Make Room for TV: Television and the Family Ideal in Postwar America (Chicago: University of Chicago Press, 1992).
  • Samuel Weber, “Television: Set and Screen” Mass Mediauras: Form, Technics, Media (Palo Alto: Stanford University Press, 1996): 108-28.

 

"Cell Phone Tower" by CathrynDC on Flickr: http://www.flickr.com/photos/cathryndc/4598249107/

Telecommunications

  • Lisa Parks, “Around the Antenna Tree: The Politics of Infrastructural Invisibility” FlowTV.org (March 6, 2009).
  • Avital Ronell, The Telephone Book: Technology, Schizophrenia, Electric Speech (Lincoln: University of Nebraska Press, 1989).
  • Tom Standage, The Victorian Internet: The Remarkable Story of the Telegraph and the Nineteenth Century’s Online Pioneers (London: Weidenfeld & Nicolson, 1998).
  • Kazys Varnelis, “Invisible City: Telecommunication,” in The Infrastructural City: Networked Ecologies in LA, ed. Kazys Varnelis (New York: Actar, The Los Angeles Forum for Architecture and Urban Design, and The Network Architecture Lab at Columbia University, 2009), 120-129.

 

Immaterials: Light painting WiFi from Timo on Vimeo.

Wirelessness

  • Adrian McKenzie, Wirelessness: Radical Empiricism in Network Cultures (Cambridge, MA: MIT Press, 2010).

IOT (Internet Of Things) from KAOS Films on Vimeo.

The Internet of Things (Physical Computing, UbiComp, etc.)

  • Paola Antonelli, Ed., Talk to Me: Design and the Communication between People and Objects (New York: Museum of Modern Art, 2011).
  • “The Internet of Things” Special Issue of Volume 28 (2011).
  • Rob Van Kranenburg, The Internet of Things: A Critique of Ambient Technology and the All-seeing Network of RFID (Amsterdam: Institute of Network Cultures, 2008).
  • Mark Shepard, Ed., Sentient City: Ubiquitous Computing, Architecture, and the Future of Urban Space (Cambridge, MA: The Architectural League of New York and MIT Press, 2011).
  • Bruce Sterling, Shaping Things (Cambridge: MIT Press, 2005.

 

"Atari 2600 Joystick" by Mark Ramsay on Flirkc: http://www.flickr.com/photos/neutronboy/243258119/

Gaming

  • Paul Atkinson, “The Best Laid Plans of Mice and Men: The Computer Mouse in the History of Computing” Design Issues 23:3 (Summer 2007): 46-61.
  • Patrick Crogan, “The Nintendo Wii, Virtualization, and Gestural Analogics Culture Machine 11 (2010).
  • Raiford Guins, “Concrete and Clay: The Life and Afterlife of E.T. The Extra-Terrestrial for the Atari 2600” Design and Culture 1:3 (November 2009): 345-364.
  • David Parisi, “Fingerbombing, of ‘Touching is Good’: The Cultural Construction of Technologized Touch” The Senses and Society 3:3 (November 2008): 307-327.
  • Bart Simon, “Geek Chic: Machine Aesthetics, Digital Gaming, and the Cultural Politics of the Case” Games and Culture 2:3 (July 2007): 175-193.
  • Melanie Swalwell, “The Remembering and the Forgetting of Early Digital Games: From Novelty to Detritus and Back Again” Journal of Visual Culture 6:2 (2007): 255-273.
  • Nanna Verhoeff, “Theoretical Consoles: Concepts for Gadget Analysis” Journal of Visual Culture 8:3 (December 2009): 279-298.

 

Media Waste

  • Elizabeth Grossman, High Tech Trash: Digital Devices, Hidden Toxics, and Human Health (Washington, D.C.: Island Press, 2006).
  • Richard Maxwell & Toby Miller, “E-Waste: Elephant in the Living RoomFlowTV (December 2, 2008).
  • Richard Maxwell & Toby Miller, “Ecological Ethics and Media TechnologyInternational Journal of Communication 2 (2008): 331-353.
  • Lisa Parks, “Falling Apart: Electronics Salvaging and the Global Media Economy” In Charles R. Aclund, ed., Residual Media (Minneapolis: University of Minnesota Press, 2007): 32-47.
  • Julian Stallabrass, “Trash” In Fiona Candlin and Raiford Guins, Eds., The Object Reader (New York: Routledge, 2009): 406-424.
  • Jonathan Sterne, “Out with the Trash: On the Future of New Media” In Charles R. Aclund, ed., Residual Media (Minneapolis: University of Minnesota Press, 2007): 16-31.

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