I guess the broader question that we face now - which is one that
Performance faced in the 80s and 90s - is what happens when everything is
Archaeology? If an archaeological sensibility characterises modernity and
late modernity does that complicate, or merely shore up, notions of
archaeological disciplinarity? Intellectually such exercises in definition
might not matter, but economically I expect that they do. With the link
that Paul sent is the *archaeological* interest determined by the deadness
of the media? Or by the stratigraphy of the database form? Or by the
genealogical attraction of media forms? For what it's worth, I don't think
there's an endpoint on this - it's back to dialogue and what we agree
collectively is worthy of study.
all best
----------------------
A A Piccini
Research Councils Academic Fellow
Drama: Theatre, Film, Television
School of Arts
University of Bristol
Cantocks Close, Woodland Road
Bristol BS8 1UP
T: +44 0117 954 5449
E: [log in to unmask]
Skype: aapiccini
W: www.bris.ac.uk/drama/staff_research/angela_piccini/
--On 01 March 2007 09:36 +0100 Cornelius Holtorf
<[log in to unmask]> wrote:
> - a typical Internet multimedia project, I would say.
>
> -----
> Cornelius Holtorf
> Institutionen för arkeologi och antikens historia, Lunds universitet
> http://web.comhem.se/cornelius
>
> ----- Original Message -----
> From: lineone <[log in to unmask]>
> Date: Wednesday, February 28, 2007 11:41 am
> Subject: Dead media project
>
>> Just come across Bruce Sterlings "Dead Media" project, which I
>> thought
>> might be of interest
>>
>> http://www.deadmedia.org/index.html
>>
>> p g-b
>
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