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"Focusing on early social media in the arts and humanities and on the core role of creative computer scientists, artists, and scholars in shaping the pre-Web social media landscape, Social Media Archeology and Poetics documents social media lineage, beginning in the 1970s with collaborative ARPANET research, Community Memory, PLATO, Minitel, and ARTEX and continuing into the 1980s and beyond with the Electronic Café, Art Com Electronic Network, Arts Wire, The THING, and many more. With first person accounts from pioneers in the field, as well as papers by artists, scholars, and curators, Social Media Archeology and Poetics documents how these platforms were vital components of early social networking and important in the development of new media and electronic literature. It describes platforms that allowed artists and musicians to share and publish their work, community networking diversity, and the creation of footholds for the arts and humanities online. And it invites comparisons of social media in the past and present, asking: What can we learn from early social media that will inspire us to envision a greater cultural presence on contemporary social media?"

The scientific discipline of archeology has gone through various stages of its development and improvement of research methods. First, it was combined with ancient history and the history of art. In the mid-nineteenth century, the base of its chronology was on biblical events. Modernist archeology of the twentieth century focused on classifying monuments and reconstructing cultural processes. In the second half of the twentieth century, archeology inspired other disciplines of culture and science to "stratigraphically" look at their own history. In this way, the stratification of scientific thought (archeology of knowledge), the history of photography (archeology of photography), and the media (archeology of media) began to be analyzed. Archeology has become a cognitive metaphor in contemporary culture. Lack of knowledge of the theoretical and methodological achievements worked out by archaeologists may, after some time, lead to the trivialization and petrification of the archaeological metaphor, although today it still seems fresh and innovative for "archeology of media," "archeology of photography," or "archeology of modernism."

The article presents the story of the underground Solidarity radio, a less known chapter of dissident media activism, whose emblematic form was the "extra Gutenberg" phenomenon of underground print culture, or samizdat. It proposes an approach, influenced by media archeology, in which both can be studied as part and parcel of the same communication environment in order to better understand the particular articulation of dissent, media and modernity which both represented. It proposes that in addition to being a certain media form, samizdat was a "social media fantasy" – a shared cultural matrix which embodied political expectations and passions about liberating effects on horizontal communication, attainable here and now through means at disposal of an average person. Underground broadcasting developed in the shadow of the samizdat materialization of this emancipatory media fantasy, despite the fact that radio activists mastered a unique craft of intrusion into the public airwaves, which gave broadcasting an aura of spectacularity that underground publishing had lost as it expanded.

The article presents the story of the underground Solidarity radio, a less known chapter of dissident media activism, whose emblematic form was the "extra Gutenberg" phenomenon of underground print culture, or samizdat. It proposes an approach, influenced by media archeology, in which both can be studied as part and parcel of the same communication environment in order to better understand the particular articulation of dissent, media and modernity which both represented. It proposes that in addition to being a certain media form, samizdat was a "social media fantasy" – a shared cultural matrix which embodied political expectations and passions about liberating effects on horizontal communication, attainable here and now through means at disposal of an average person. Underground broadcasting developed in the shadow of the samizdat materialization of this emancipatory media fantasy, despite the fact that radio activists mastered a unique craft of intrusion into the public airwaves, which gave broadcasting an aura of spectacularity that underground publishing had lost as it expanded.

The chapter explores a shift of emphasis from the macro to micro scale of algorithmic music, by making reference to Deleuze and Guattari's notion of micropolitics, microtemporality in the work of Wolfgang Ernst, and Shintaro Miyazaki's concept of algorhythmics. By drawing together tactical media and media archaeology to address the politics of algorithmic music, an argument is developed that 'tactical media archaeology' offers an analytical method for developing alternative compositions. By emphasising more speculative approaches and broader ecologies of practice exemplified by the critical engineering of Martin Howse, our claim is that algorithms need to understood as part of temporal, relational and contingent operations that are sensitive to their conditions and future trajectories. ; Draft version

Aktuell werden Begriffe wie Digitalisierung, Mediatisierung, Medialisierung sowie Digitalität und Post-Digitalität viel diskutiert. Diese Diskurse werden vorrangig aus einer Perspektive des Globalen Nordens geführt. Dabei geht es häufig um die ‹sinnvolle› Integration (digitaler) Medien in Bildungskontexte und das transformierende Potential für Bildungsinstitutionen von Elementarpädagogik, über Schule bis Hochschule. Versuche der Begriffsbestimmungen von Digitalisierung, Mediatisierung oder auch Post-/Digitalität sind stark von der geopolitischen und sprachlichen Verortung geprägt. Doch die Kultur der Digitalität und die globale digitale Vernetzung der Welt, legen hinsichtlich bestimmter Fragen eine weltumspannende postkoloniale Perspektive nahe. Der vorliegende Beitrag versucht einen möglichen methodologischen Zugang zu einer weltumspannenden Medienpädagogik zu skizzieren und handelt dies entlang ökologischer Implikationen der Ubiquität digitaler Technologie und eines ökologisch-nachhaltigeren Medienhandelns ab. Dem ist eine Begriffsklärung zu Digitalität und Post-Digitalität vorangestellt. Der Beitrag schlägt einen interdisziplinären Zugang vor, der medienpädagogische und medienwissenschaftliche Überlegungen sowie «Bildung für nachhaltige Entwicklung» und Postcolonial Studies einbezieht. Daraus ergeben sich medienpädagogische Anschlussstellen und Forschungsfelder. ; Talking about digitization, mediatization, medialization or post-/digitality we are limited in a perspective of the Global North, mostly dealing with the implementation of (digital) media in educational institutions. Educators, educational researchers as well as politicians are often requiring more technological features, better technical conditions and the taxonomisation of digital skills for countries in the Global North. But this perspective inhibits us to consider a wide-ranging term of digitality which includes e.g. environmental implications of an ubiquitous use of digital media or taxonomies of digital competences for the Global South. To that extant an postcolonial and media archaeological approach is proposed to think digitality consequently wide and far-reaching. This opens up responsibilities and tasks for media-pedagogy in research, as well as for the development of concepts and educational practices.

Medieval Hackers calls attention to the use of certain vocabulary terms in the Middle Ages and today: commonness, openness, and freedom. Today we associate this language with computer hackers, some of whom believe that information, from literature to the code that makes up computer programs, should be much more accessible to the general public than it is. In the medieval past these same terms were used by translators of censored texts, including the bible. Only at times in history when texts of enormous cultural importance were kept out of circulation, including our own time, does this vocabulary emerge. Using sources from Anonymous's Fawkes mask to William Tyndale's Bible prefaces, Medieval Hackers demonstrates why we should watch for this language when it turns up in our media today. This is important work in media archaeology, for as Kennedy writes in this book, the "effluorescence of intellectual piracy" in our current moment of political and technological revolutions "cannot help but draw us to look back and see that the enforcement of intellectual property in the face of traditional information culture has occurred before….We have seen that despite the radically different stakes involved, in the late Middle Ages, law texts traced the same trajectory as religious texts. In the end, perhaps religious texts serve as cultural bellwethers for the health of the information commons in all areas. As unlikely as it might seem, we might consider seriously the import of an animatronic [John] Wyclif, gesturing us to follow him on a (potentially doomed) quest to preserve the information commons.

The mirror of design: spiderwebs, sediments radiation, extinction self-surveillance -- The plastic human: plasticity, strange artifacts interface -- Blows of design: technofossils, prehistory genetic continuum hands, ornament sexual selection -- The invention of the human: tools, brain, curiosity -- The ornamental species: domestication, beads, networks, thinking strings, useless things -- New from nowhere: mechanical life, good design, morality, failure toys, functionalsim -- Good design is an anesthetic: smoothness, shock, smile shock absorber, nerves -- The design of health: dissection, x-ray, tuberculosis, fatigue, allergies, autoimmune burnout -- Human-centered design: camping, artificial limbs biology, survival, self-destruction, primal scene -- The frictionless silhouette: normal, human engineering, automaton biotechnique, discipline -- Designing the body: bodybuilding, hedonism nudism, libido, stomach psyche -- Design as perversion: fetishism, bondage voyeurism, erotica scatology, pedophilia -- Designing a ghost: scale figure, protohumans clothing, lurking shadows -- The unstable body: microbiome, prosthetics plastic surgery, drugs biodesign, chimera -- Homo cellular: intimacy, connectivity shelter, computation selfie, surveillance -- Design in 2 seconds: social media, avatar hybrid space, the bed postlabor, self-design

This Open Access book explores the concept of digital epistemology. In this context, the digital will not be understood as merely something that is linked to specific tools and objects, but rather as different modes of thought. For example, the digital within the humanities is not just databases and big data, topic modelling and speculative visualizations; nor are the objects limited to computer games, other electronic works, or to literature and art that explicitly relate to computerization or other digital aspects. In what way do digital tools and expressions in the 1960s differ to the ubiquitous systems of our time? What kind of artistic effects does this generate? Is the present theoretical fascination for materiality an effect or a reaction to a digitization? Above all: how can early modern forms such as the cabinets of curiosity, emblem books and the archival principle of pertinence contribute to the analyses of contemporary digital forms?

SWD-Schlagwörter: Digitale Kulturwissenschaften, Game studies, Mediengeschichte, Bildanalyse, Filmwissenschaft. - Freie Schlagwörter (Deutsch): Digitale Kultur, Akteur-Netzwerk-Theorie, Bildanalyse, Medienarchäologie, Game Studies. - Freie Schlagwörter (Englisch): Digital culture, actor-network-theory, image analysis, media archeology, game studies

The article presents the story of the underground Solidarity radio, a less known chapter of dissident media activism, whose emblematic form was the "extra-Gutenberg" phenomenon of underground print culture, or samizdat. It proposes an approach, influenced by media archeology, in which both can be studied as part and parcel of the same communication environment in order to better understand the particular articulation of dissent, media and modernity which both represented. It proposes that in addition to being a certain media form, samizdat was a "social media fantasy" – a shared cultural matrix which embodied political expectations and passions about liberating effects on horizontal communication, attainable here and now through means at disposal of an average person. Underground broadcasting developed in the shadow of the samizdat materialization of this emancipatory media fantasy, despite the fact that radio activists mastered a unique craft of intrusion into the public airwaves, which gave broadcasting an aura of spectacularity that underground publishing had lost as it expanded. ; p. 175-210 ; 23 cm ; The article presents the story of the underground Solidarity radio, a less known chapter of dissident media activism, whose emblematic form was the "extra-Gutenberg" phenomenon of underground print culture, or samizdat. It proposes an approach, influenced by media archeology, in which both can be studied as part and parcel of the same communication environment in order to better understand the particular articulation of dissent, media and modernity which both represented. It proposes that in addition to being a certain media form, samizdat was a "social media fantasy" – a shared cultural matrix which embodied political expectations and passions about liberating effects on horizontal communication, attainable here and now through means at disposal of an average person. Underground broadcasting developed in the shadow of the samizdat materialization of this emancipatory media fantasy, despite the fact that radio activists mastered a unique craft of intrusion into the public airwaves, which gave broadcasting an aura of spectacularity that underground publishing had lost as it expanded. ; s. 175-210 ; 23 cm

International audience ; The article sets out to explore in a concise manner the archaeology of today's infrared visual culture, through some scientific and technological devices, discourses and practices that have led to the development of analogue infrared imaging from the second half of the 19th century up to the 1960s. We focus on some examples that show the origin of two instances where the contemporary uses of digital infrared intertwine and co-exist: firstly, the need to map what is invisible to the human eye and, secondly, the need to track data and manage information flows.

International audience ; The article sets out to explore in a concise manner the archaeology of today's infrared visual culture, through some scientific and technological devices, discourses and practices that have led to the development of analogue infrared imaging from the second half of the 19th century up to the 1960s. We focus on some examples that show the origin of two instances where the contemporary uses of digital infrared intertwine and co-exist: firstly, the need to map what is invisible to the human eye and, secondly, the need to track data and manage information flows.