Handmade films and artist-run labs. The chemical sites of film’s counterculture

This article addresses handmade films and especially artist-run labs as sites of hands-on film culture that reactivate moments and materials from media history. Drawing on existing research, discourses and discussions with contemporary experimental filmmakers affiliated with labs or practicing their work in relation to film lab infrastructure, we focus on these sites of creation, preservation and circulation of technical knowledge about analog film. But instead of reinforcing the binary of analog vs. digital, we argue that the various material practices from self-made apparatuses to photochemistry and film emulsions are ways of understanding the multiple materials and layered histories that define post-digital culture of film. This focus links our discussion with some themes in media archaeology (experimental media archaeology as a practice) and to current discussions about labs as arts and humanities infrastructure for collective project and practice-based methods

Off-lining to tape is not archiving: Why we need real archiving to support media archaeology and ensure our visual effects legacy thrives

© 2019 ISAST This paper examines digital asset archiving and preservation practice in the visual effects (VFX) industry. The authors briefly summarize media archaeology theory and provide an overview of how VFX studios presently archive project assets and records, based on case study and interview research conducted with expert VFX practitioners from leading international studios. In addition, the authors propose that current practice could be improved by adopting archival science methods, including digital preservation practices. Doing so will support media archaeology studies of digital cultures over time and ensure that the legacy of VFX creative and technical production thrives for future generations

Art, Creativity and Automation. From Charters to Shared 3D Visualization Practices

In this study, we introduce the themes of the Special Issue on Art, Creativity and Automation. Sharing 3D Visualization Practices in Archaeology, and present the most important outcomes of a roundtable session involving prominent researchers in the field, organized by the authors during the Archon Winter School in February 2020. By assessing the diversity of research aims, artistic projects, creative practices and technology used in the contributions to the Special Issue, and drawing on the thoughts and perspectives generated during the roundtable discussion, we seek to identify shared challenges within the community of visualizers which could ultimately pave the way to shared practices. In this light, we assess whether established charters and guidelines are still relevant in a now matured digital archaeology, where visualization techniques have attained a central position in archaeological knowledge production. Although parts of the guidelines have become common practice, the remainder did not keep up with the fast pace of development of digital practice and its current fundamental role in archaeology, and as a result some of the guidelines risk becoming obstructive in archaeological creative practice.Material Culture Studie

Publishing Primary Data on the World Wide Web: Opencontext.org and an Open Future for the Past

More scholars are exploring forms of digital dissemination, including open access (OA) systems where content is made available free of charge. These include peer -reviewed e -journals as well as traditional journals that have an online presence. Besides SHA's Technical Briefs in Historical Archaeology, the American Journal of Archaeology now offers open access to downloadable articles from their printed issues. Similarly, Evolutionary Anthropology offers many full -text articles free for download. More archaeologists are also taking advantage of easy Web publication to post copies of their publications on personal websites. Roughly 15% of all scholars participate in such "self -archiving." To encourage this practice, Science Commons (2006) and the Scholarly Publishing and Academic Resources Coalition (SPARC) recently launched the Scholar Copyright Project, an initiative that will develop standard "Author Addenda" -- a suite of short amendments to attach to copyright agreements from publishers (http://sciencecommons. org/projects/publishing/index.html). These addenda make it easier for paper authors to retain and clarify their rights to self -archive their papers electronically. Several studies now clearly document that self -archiving and OA publication enhances uptake and citation rates (Hajjem et al. 2005). Researchers enhance their reputations and stature by opening up their scholarship.Mounting pressure for greater public access also comes from many research stakeholders. Granting foundations interested in maximizing the return on their investment in basic research are often encouraging and sometimes even requiring some form of OA electronic dissemination. Interest in maximizing public access to publicly financed research is catching on in Congress. A new bipartisan bill, the Federal Research Public Access Act, would require OA for drafts of papers that pass peer review and result from federally funded research (U.S. Congress 2006). The bill would create government -funded digital repositories that would host and maintain these draft papers. University libraries are some of the most vocal advocates for OA research. Current publishing frameworks have seen dramatically escalated costs, sometimes four times higher than the general rate of inflation (Create Change 2003). Increasing costs have forced many libraries to cancel subscriptions and thereby hurt access and scholarship (Association for College and Research Libraries 2003; Suber 2004).This article originally published in Technical Briefs In Historical Archaeology, 2007, 2: -11

Into the Wide – Into the Deep: Manuscript Research in the Digital Age. Introduction

Manuscript research is a wide field of scholarship which is integrated in core disciplines such as history, philology, or library science. Yet manuscript research is also crucial in other fields such as archaeology, history of arts, musicology or Egyptology, to name but a few. For all these disciplines, manuscripts are fundamental sources. There are different approaches to different types of manuscripts, but questions and perspectives, methodologies and tools are often quite similar. Innovations and new research strategies from one discipline can be transferred to and adopted by others. This article is an introduction to the second volume of the anthology "Codicology and Palaeography in the Digital Age" and gives an overview of current aspects in the field of manuscript studies in both theory and practice by showing the relatedness of the contributions to the volume at hand as well as its predecessor. The texts are roughly assigned to five interrelated areas of manuscript research: (I) the photographic capturing of the manuscript surface, (II) the description of the manuscript for a catalogue, (III) the scientific examination of material aspects, (IV) the analysis of the script and (V) the deep encoding of the text itself

Archaeological Ethics, Video-Games, and Digital Archaeology: A Qualitative Study on Impacts and Intersections

Representations of archaeology in media such as films and television have been historically problematic. Video-games, however, have taken these depictions of archaeology and archaeologists to the next level, not only allowing media consumers to view unethical behaviors such as looting and site destruction, but to participate in them, as willing and complicit bad actors. In 2017, the video-game industry reported a worldwide 36 billion US dollars in consumer spending, with over 6 billion of that spending occurring within the United Kingdom. In order to confront the deep and growing ethical implications for archaeology, this project turns a spotlight onto two key areas of concern: video-game players’ perceptions and professional archaeological practices. In the first instance, I seek to understand whether depictions of archaeologists in video-games impact player perceptions of archaeologists as skilled professionals. This research contributes to contextualizing the relationship between representations of archaeological practices in the real and virtual worlds. From here I turn to matters of ethical practice in professional archaeology, seeking to understand how ethics are being considered (if at all) in evolving digital archaeological practice. I attempt to isolate the ways in which archaeological practitioners are, and are not, considering the ethical implications of the digital components of their work, and how those ethical issues may impact future practice. Tying these two areas together is a discussion on the nature of current and near-future archaeology as a practice existing both in the real and the virtual. As perceptions of archaeologists are being shaped by video-game representations, the perceptual line between digitally virtual representations of archaeologists and digital archaeologists blurs. Understanding the current ethical failings of both is crucial to ensuring that future conduct on the part of archaeologists is grounded in professional standards based on reflexive, conscientious, and publicly accountable practice

Archaeological practices, knowledge work and digitalisation

Defining what constitute archaeological practices is a prerequisite for understanding where and how archaeological and archaeologically relevant information and knowledge are made, what counts as archaeological information, and where the limits are situated. The aim of this position paper, developed as a part of the COST action Archaeological practices and knowledge work in the digital environment (www.arkwork.eu), is to highlight the need for at least a relative consensus on the extents of archaeological practices in order to be able to understand and develop archaeological practices and knowledge work in the contemporary digital context. The text discusses approaches to study archaeological practices and knowledge work including Nicolini’s notions of zooming in and zooming out, and proposes that a distinction between archaeological and archaeology-related practices could provide a way to negotiate the ‘archaeologicality’ of diverse practices

The social web and archaeology's restructuring: impact, exploitation, disciplinary change

From blogs to crowdfunding, YouTube to LinkedIn, online photo-sharing sites to open-source community-based software projects, the social web has been a meaningful player in the development of archaeological practice for two decades now. Yet despite its myriad applications, it is still often appreciated as little more than a tool for communication, rather than a paradigm-shifting system that also shapes the questions we ask in our research, the nature and spread of our data, and the state of skill and expertise in the profession. We see this failure to critically engage with its dimensions as one of the most profound challenges confronting archaeology today. The social web is bound up in relations of power, control, freedom, labour and exploitation, with consequences that portend real instability for the cultural sector and for social welfare overall. Only a handful of archaeologists, however, are seriously debating these matters, which suggests the discipline is setting itself up to be swept away by our unreflective investment in the cognitive capitalist enterprise that marks much current web-based work. Here we review the state of play of the archaeological social web, and reflect on various conscientious activities aimed both at challenging practitioners’ current online interactions, and at otherwise situating the discipline as a more informed innovator with the social web’s possibilities

Scottish Archaeological Research Framework: Future Thinking on Carved Stones

No abstract available

Reuse remix recycle: repurposing archaeological digital data

Preservation of digital data is predicated on the expectation of its reuse, yet that expectation has never been examined within archaeology. While we have extensive digital archives equipped to share data, evidence of reuse seems paradoxically limited. Most archaeological discussions have focused on data management and preservation and on disciplinary practices surrounding archiving and sharing data. This article addresses the reuse side of the data equation through a series of linked questions: What is the evidence for reuse, what constitutes reuse, what are the motivations for reuse, and what makes some data more suitable for reuse than others? It concludes by posing a series of questions aimed at better understanding our digital engagement with archaeological data