I focus most closely on Parikka’s chapter, Practicing Media Archaeology: Creative Methodologies for Remediation. I find this section most productive for myself thinking as a digital theorist and as a writer as it sets up a theoretical framework for understanding the practice-based media arts. Parikka implements six distinct readings of a media archaeology approach to understanding media—he mentions that these proposed readings do not in fact limit our understanding, but function as examples of reading works from creators as disparate of Nam Jun Paik, Siegfried Zielinski, William Gibson, Bruce Sterling, and Gustav Deutsch, to name a few. Thus, the door is open for future interpretation of these works which only set the stage for theorists to investigate “new ways to think through obsolescence, myths of progress, the technical specificity of ‘new’ media and the wide range of alternative histories and potentials of the past that can be brought to life” (157). When considering this section it becomes vital to think beyond the constraints of this writing and consider current implications of such a theoretical approach.
In this 2012 publication, Parikka discusses the temporality of network time, urging us to consider ‘internet time’ as fleeting. Moreover, such a consideration must realize the changes between the publication and the present reader’s position, as well as continual change. I propose, continuing out of his discussion of digital internet art, or ‘net art,’ that we must approach and seek to integrate the present state of net art and work to understand the shifts which have occurred since What is Media Archaeology has been published. Since 2012, we might consider the entire creation of multiple net art aesthetics, most prominently the New Aesthetic, a term coined in 2012, which defines a visual aesthetic that has quickly evolved over the past two years and has become a prominent feature in the net art scene. I might also propose an approach to glitch aesthetic, dirty new media, and a quickly evolving intermedia art practice. Such rapid change is fueled by the tech industry, quickening obsolescence, and swift creative development. Please, consider this post as a preface to my presentation this week as we consider our reading of Parikka’s What is Media Archaeology in relation to current net art aesthetics. We’ll continue to approach such aesthetics and engage in close reading works from individual artists as well as aesthetic development.