Always Already New: Media, History, and the Data of Culture - download pdf or read online

By Lisa Gitelman

ISBN-10: 0262072718

ISBN-13: 9780262072717

Choice striking educational identify, 2007.

In Always Already New, Lisa Gitelman explores the novelty of recent media whereas she asks what it potential to do media historical past. utilizing the examples of early recorded sound and electronic networks, Gitelman demanding situations readers to contemplate the ways in which media paintings because the simultaneous topics and tools of historic inquiry. featuring unique case experiences of Edison's first phonographs and the Pentagon's first dispensed electronic community, the ARPANET, Gitelman issues suggestively towards similarities that underlie the cultural definition of files (phonographic and never) on the finish of the 19th century and the definition of records (digital and never) on the finish of the 20 th. hence, Always Already New speaks to offer issues in regards to the humanities up to to the emergent box of recent media reviews. documents and files are kernels of humanistic concept, after all—part of and get together to the cultural impulse to maintain and interpret. Gitelman's argument indicates artistic contexts for "humanities computing" whereas additionally delivering a brand new viewpoint on such conventional humanities disciplines as literary history.

Making broad use of archival resources, Gitelman describes the ways that recorded sound and digitally networked textual content every one emerged as neighborhood anomalies that have been but deeply embedded in the reigning common sense of public existence and public reminiscence. in any case Gitelman turns to the realm extensive internet and asks how the historical past of the internet is already being informed, how the net may additionally face up to heritage, and the way utilizing the net will be generating the stipulations of its personal historicity.

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Extra resources for Always Already New: Media, History, and the Data of Culture

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In this literature, media serve as instruments of Western cultural imperialism and mature finance capital, creating a global village of increasingly Americanized consumers. Culturally, globalization is a process involving worldwide transfers of technology and translocations of people—migrations, diasporas, and displacements— that is resisted hopelessly, if at all, by the centrifugal pressures of localism. However apposite this dark picture may be, it is painted with a broad brush, the wide strokes of which threaten to blur away the very localism they purport to show in decline and at the same time exaggerate the ways in which today’s new media are distinctively new.

I The Case of Phonographs 1 New Media Publics 1878: Tinfoil Like any new medium, recorded sound could not but emerge according to the practices of older media. Edison stumbled on the idea of sound recording while working on telephones and telegraphs during the summer and fall of 1877, and communication devices like these provided an initial context for defining the phonograph. To the inventor and his contemporaries, the phonograph meant what it did because of the ways it might resemble and—particularly—because of the ways it might be distinguished from existing machines.

Beyond CERN, the broader physics community made early use of the World Wide Web. For instance, the library at the Stanford Linear Accelerator Center (SLAC) soon offered Web-based access to “preprints”—articles that are on their way through the peerreview process, but that haven’t appeared in print or electronically yet with the final imprimatur of a refereed journal. The new accessibility of preprints made them not more authoritative but certainly more integral to the work of physicists. 43 Elsewhere on the disciplinary map, doing art history has also changed in similar ways, but it changed first in the early twentieth century with the advent of slide lectures as a defining pedagogical practice.

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Always Already New: Media, History, and the Data of Culture by Lisa Gitelman

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