Registration is still open for the inaugural event on 25th/26th of April 2015, which will be followed by a ten week period for the participants to work on their projects, and culminate in a final event and presentations on the 5th of July.
Find more information and how to register on the organiser’s website
The House of World Cultures in Berlin. Image by Avda
The organisers Shintaro Miyazaki and Jamie Allen write:
Media archaeology is an academic method, but also an artistic practice and material inquiry. Playful, ironic aesthetics and critically historical approaches to media cultures and their technologies is gaining increased attention. We live in an archive of the media technological storage and of regurgitation of bygone times — such a situation requires artistic reactions and interventions.
In this context I will present my research and will focus on two recent projects on mining and visualising Wikipedia article revisions. A Wikipedia article, as commonly accessed through a browser, only represents the most recent version of that article. Underneath the surface are often thousands of earlier revisions of the same article. Wikipedia is not only an encyclopaedia, but also a history of an encyclopaedia and a reflection of changing knowledge, beliefs, concerns and social issues. Through my work I try to expose these hidden layers and mine the cultural archive of Wikipedia.
Image: The workshop will take place at Arts @ 29 Garden, the creative project space of Harvard University
During the next two weeks, I will take part in this summer institute organised by Harvard’s metaLAB and funded by The Getty Foundation. I have been invited as one of 22 professionals and academics in the field of museums, archives and digital humanities to work on concepts and practical solutions for new ways of art-historical storytelling using open digital collections and to critically discuss the ethical, curatorial and intellectual challenges of digital media in a cultural context.
I’m not sure how much I’m allowed to give away of the programme here, but I’m impressed by the number of high-profile speakers and participants the organisers managed to gather for, what can only be, an exciting, stimulating and challenging workshop. Watch this space for updates and outcomes.
Claudia Hammond is an award-winning broadcaster, writer and psychology lecturer and the presenter of All in the Mind on BBC Radio 4, as well as programmes on BBC World Service and BBC World News TV. She is the author of the book “Time Warped” in which she delves into the mysteries of time perception. In her talk she shows how malleable our experience of time is and which factors influence how we perceive time.
Siân Lindley is part of the Socio-Digital Systems group at Microsoft Research, where she studies technologies in use and the practices that are built up around them. Siân presents two of her projects on using digital timelines for narrating personal histories, which yield unexpected insights into how representations of time shape our retelling of the past.
Matthew Shaw’s research in the history of the French Revolution, which he developed from his PhD into a major book, sheds light on perhaps one of the boldest reforms undertaken in Revolutionary France: the redesign of time itself. For almost a decade the French calendar had not only its own months and years but also decimalised hours and minutes.
John Taylor’s most ubiquitous invention has probably been used by anyone who ever switched on a kettle. However, it is his work on clocks that most captivates him. Turned inside out and controlled by a giant time-devouring mechanical creature, John’s Corpus clock required two hundred engineers, scientists and craftsmen, five years of his time, one million pounds and one Stephen Hawking for its unveiling on the wall of Corpus Christi College, Cambridge University.
Peter Bennett introduces physicality in how we interact with computers through his research on Tangible Interfaces at the Bristol Interaction & Graphics Lab. A physical interface for time however proved to be problematic. Is time flexible or solid? Is time a single object or many? Is time a line, circle, spiral or even a shape at all? It is this ambiguous nature of how time can be physically represented and controlled that Peter explores in his work.