The Big Archive

The archive as a crucible of twentieth-century modernism and key for understanding contemporary art. The typewriter, the card index, and the filing cabinet: these are technologies and modalities of the archive. To the bureaucrat, archives contain little more than garbage, paperwork no longer needed; to the historian, on the other hand, the archive's content stands as a quasi-objective correlative of the “living” past. Twentieth-century art made use of the archive in a variety of ways—from what Spieker calls Marcel Duchamp's “anemic archive” of readymades and El Lissitzky's Demonstration Rooms to the compilations of photographs made by such postwar artists as Susan Hiller and Gerhard Richter. In The Big Archive, Sven Spieker investigates the archive—as both bureaucratic institution and index of evolving attitudes toward contingent time in science and art—and finds it to be a crucible of twentieth-century modernism. Dadaists, constructivists, and Surrealists favored discontinuous, nonlinear archives that resisted hermeneutic reading and ordered presentation. Spieker argues that the use of archives by such contemporary artists as Hiller, Richter, Hans-Peter Feldmann, Walid Raad, and Boris Mikhailov responds to and continues this attack on the nineteenth-century archive and its objectification of the historical process. Spieker considers archivally driven art in relation to changing media technologies—the typewriter, the telephone, the telegraph, film. And he connects the archive to a particularly modern visuality, showing that the avant-garde used the archive as something of a laboratory for experimental inquiries into the nature of vision and its relation to time. The Big Archive offers us the first critical monograph on an overarching motif in twentieth-century art.

Instead of smoothing over contemporary art's violent and iconoclastic dimensions, instead of sanitizing and making complex artworks docile in terms of archival possibilities, this book suggests we abandon our fantasy of mastery over representation and respond in kind to the archive-as-artwork, to "living" archives, and to reenactments of history with their seamless connections between fiction and non-fiction. Among the concepts examined are Vilém Flusser's techno-imagination, Lygia Clark's and Hélio Oiticica's participatory aesthetics, and Paulo Bruscky's and Eduardo Kac's literal performances of the archive. They contribute to the erosion of the archive's former boundaries, stability, function, and meaning. Writing alongside the artists as much as about them, Osthoff examines the archive mise-en-abyme, as it grows increasingly recombinant and generative. Simone Osthoff received her Ph.D. from the European Graduate School and is Associate Professor of Critical Studies in the School of Visual Arts at Pennsylvania State University. An art critic and historian of contemporary art, her numerous essays, focusing on media art practices and issues of historiography, have been published internationally and translated into over eight languages.

Dedicated to art practices that mobilize the model of the archive, Staging the Archive demonstrates the ways in which such “archival artworks” probe the possibilities of what art is and what it can do. Through a variety of media, methodologies and perspectives, the artists surveyed here also challenge the principles on which the notions of organization, evidence, and documentation are built. The earliest examples of the modern archival artwork were made in the 1930s, but only since the 1960s have artists really embraced archival principles to inform, structure, and shape their works. This includes practices that consist of archive construction, archaeological investigation, record keeping, and the use of archived materials, but also interrogations of the principles, claims, and effects of the archive. Staging the Archive shows how artists read the concept of the archive against the grain, questioning not only what the archive is and can be but what materials, images, or ideas can be archived. Ernst van Alphen examines these archival artists and artworks in detail, setting them within their social, political, and aesthetic contexts. Exploring the works of Marcel Duchamp, Marcel Broodthaers, Christian Boltanski, Annette Messager, Fiona Tan, and Sophie Calle, among others, he reveals how modern and contemporary artists have used and contested the notion of the archive to establish new relationships to history, information, and data.

A mesmerizing challenge to orthodox cosmology with powerful implications not only for cosmology itself but also for our notions of time, God, and human nature -- with a new Preface addressing the latest developments in the field. Far-ranging and provocative, The Big Bang Never Happened is more than a critique of one of the primary theories of astronomy -- that the universe appeared out of nothingness in a single cataclysmic explosion ten to twenty billion years ago. Drawing on new discoveries in particle physics and thermodynamics as well as on readings in history and philosophy, Eric J. Lerner confronts the values behind the Big Bang theory: the belief that mathematical formulae are superior to empirical observation; that the universe is finite and decaying; and that it could only come into being through some outside force. With inspiring boldness and scientific rigor, he offers a brilliantly orchestrated argument that generates explosive intellectual debate.

Look for Freddie and his friends, surrounded by a variety of zany people and objects, in many interesting settings. Each scene includes a list of objects and characters to find.

Mining the Media Archive gathers together an exciting collection of essays by writer and cultural theorist Dot Tuer. Ranging from monographs on new media artists to a history of Canada's most controversial artist-run centre, the CEAC, to testimonial writing on cultural politics and post-colonialism in Canada and Argentina, Tuer's writings address issues of global media and local remembrance through a unique blend of storytelling, archival research and cultural analysis.

Ingenious (and hilarious) projects that aspiring makers will love, brought to you by the tinkerers at Popular Science magazine. From useful, doable gadgets to outlandish contraptions that you’d likely be wise to avoid, this showcase of ingenuity is an entertaining tribute to the inventive spirit. In this book from the science and technology magazine that’s been inspiring everyday people for nearly 150 years, you’ll discover: Geek Toys: Be the life of any party with rad gaming hacks, amazing pyrotechnics, quirky DIY robots, wow-inducing projectiles, and lots of ways to make beer even better. Home Improvements: Pimp out your pad with a laser-security system, an improvised sous-vide cooker, and a life-sized cardboard display of anyone you want. Gadget Upgrades: Want to stash a flash drive in an old cassette? Use a DIY stylus on a touchscreen? Improvise a fisheye lens for your camera? With this book, you can. Things That Go: Give your motorbike a Tron vibe, deck out your car with an action-figure hood ornament, and keep gadgets charged on the go with a solar-powered backpack. …and much more!