“The project has five main points:
1. Opposition to dead media. Media never dies, it decays and rots, and is reformed and remixed but always “stays as a residue in the soil”.
2. Opposition to planned obsolescence, which is an “unsupportable death drive” in the political media consumption and media ecology of the circulation of desires.
3. Depunctualisation of media, by promoting the open hacking and understanding of ‘black box’ systems.
4. Media archaeology as artistic methodology – the remixing of technology from textual material to material methodology
5. Reuse is an important dynamic of contemporary culture, an open and remix culture should be extended to physical artifacts.”
— Garnet Hertz and Jussi Parikka’s ‘Zombie Media‘ project (via betaknowledge)
“Media archaeology can be understood as a heterogeneous set of theories and methods that investigate media history through its alternative roots, forgotten paths, neglected ideas and machines. It explicitly challenges the supposed newness of digital culture. Media archaeology gives new ideas to understand media cultural temporality. The definitions have ranged from emphasising the recurring nature of media cultural discourses (Huhtamo) to media archaeology as an-archaeology, or variantology (Zielinski) which in its excavation of the deep time layers of our means of seeing tries to find an alternative route to dismantle the fallacy of linear development.”


Second World War British instructional recognition silhouette cards (‘spotter’ cards), ‘Red Pack’, published by the Air Ministry in 1941. This ‘Red Pack’ (denoting the card backs as red and depicting silhouettes of single-engined aircraft) is one of four packs of Aircraft Recognition Silhouette Cards issued by the Ministry. When complete, the other packs would be as follows: ‘Blue’ pack -silhouettes of multi-engined aircraft (single rudder); ‘Orange’ pack -silhouettes of multi-engined aircraft (twin rudders); ‘Green’ pack -silhouettes of miscellaneous aircraft. Each pack should consist of 53 cards, i.e. four distinct and separate views of each aircraft, plus a joker, and the four views represent ‘suits’, and are as follows: ‘General perspective view’; ‘Front view’; ‘Plan view’; ‘Side view’. The Joker shows three or four views of each aircraft on one card. The packs allow for all ordinary card games to be played which are not concerned with ‘sequences’ or ‘values’. See EPH 2972 for full set of instructions.

aircraft identification cards, British, ‘Aircraft Recognition Silhouette Cards’ (Red pack) | Imperial War Museums

Playing cards for visual recognition, this is a cultural trope that is ripe for intervention.

Playing cards were also used to identify human ‘targets’ by the US military in the Iraq war, which was widely publicised. I think even the FBI/CIA website was styled as a deck of cards.

“The author is interested in re-investigating certain aspects of institution formation, notably the formation of scientific, medical, and engineering disciplines. He emphasizes the manner in which science as cultural practice is imbricated with other forms of social, political, and even aesthetic practices.”

The Dictionary of Visual Language (via Joe Kral)

“Suddenly one day some little fat girl in Ohio is going to be the new Mozart… and make a beautiful film with her father’s little camera-corder, and for once this whole professionalism about movies will be destroyed forever and it will become an art form.”
— Francis Ford Coppola
“Recently, design has also begun to re-engage with more speculative objects whose ambiguous functionality contributes to the exploration of the social and the material, the political and the aesthetic. On the other hand the social sciences also work with objects, including categorical objects such as race, gender, and health, empirical objects ranging from the mundane to the exotic, and conceptual objects such as the notions social scientists use to understand and theorize the social.”

Design and Social Science Seminar Series 2009-2010

The Objects of Design and Social Science

Anne Galloway | Connecting material, spatial and cultural practices

“Computing power is an integrated part of our physical environment, and since our physical environment is three-dimensional, the virtual studio technology, with its unique potential for visualizing digital 3D objects and environments along with physical objects, offers an obvious path to pursue in order to envision future usage scenarios in the domain of pervasive computing. We label the work method virtual video prototyping, which grew out of a number of information systems design techniques along with approaches to visualization in the field of architecture and set design. We present a collection of virtual video prototyping cases and use them as the platform for a discussion, which pinpoint advantages and disadvantages of working with virtual video prototyping as a tool for communication, experimentation and reflection in the design process. Based on more than ten cases we have made the observations that virtual video prototypes 1) are a powerful medium of communication in development teams and for communication with industry partners and potential investors, 2) support both testing and generating ideas 3) are particular suited for addressing spatial issues and new ways of interacting. In addition practical use of virtual video prototypes has indicated the need to take into account some critical issues including a) production resources, b) hand-on experience, and c) the seductive power of virtual video prototypes.”
“Poggenpohl asserts that design research is developed through a typology within academic and business contexts, and follows different research theories and strategies. Such issues in design collaboration are explored in-depth, with essays on an inter-institutional academic project, cross-cultural learning experiences, and a multi-national healthcare project, demonstrating the importance of shared values, interdisciplinary negotiated process and clear communication for tomorrow’s designers.”
“The great icons of industrial and architectural design are cornerstones of our material culture. They are referred to again and again in education, research, and cultural debate, and as such they have become nodal points of human discourse. The knowledge embedded in such artefacts has often been referred to as “silent knowledge”. Drawing on the one hand on an analysis of the elements of the design process and, on the other, on a simple model for knowledge construction as such, taken from the world of scientific research, this article discusses the nature of such silent knowledge. It is argued that the structure of any new knowledge contribution is the same regardless of field, be it art, philosophy, or science, whereas the phenomena involved are different.”
— Solid knowledge: notes on the nature of knowledge embedded in designed artefacts - artifact
“Digital Art and Culture 2009 is the 8th in an international series of conferences begun in 1998. DAC is recognized as an interdisciplinary event of high intellectual caliber. This iteration of DAC will dwell on the specificities of embodiment and cultural, social and physical location with respect to digital technologies and networked communications.”
“Delagrange, Susan. (2009). Wunderkammer, Cornell, and the Visual Canon of Arrangement. Kairos: A Journal of Rhetoric, Technology, and Pedagogy 13(2). Retrieved September 22, 2009, from”