a process-based residency project at MOST

By Arc±aeology, this project is a Media Archaeology themed creative process. In which the form of this project is inspired by the element of “examining”(考) & “learning”(學) part. The plus-minus sign(±) is a mathematical symbol with multiple meanings, echoed with the intended form and nature of the process.

The current month is an exam season, the process is intended to create a space for studying. The studying process includes making sketches ,notes, tutorial videos, exercises and mock questions towards “media archaeology”. The method is a blend of high and low technologies . Experimentation in art forms and codes will also be conducted on site during the project period.

Media Archaeology can be identified as a process to first locate a topoi, then trace the trajectories and transformations. (Huhtamo & Parikka,2011) In a certain point of view, it can be understood as a process of deep studying on things related to media. In its discourse, there are different methodologies. Examples could begin with reading “Understanding Media “ by Marshall McLuhan , ranging to any Youtuber making a video reviewing history on the next best game sequel. Museums,scholars and artists had applied it to the “media” that they are interested in. But those are their journeys. How about a personal one?

In a story described by Plato in Meno, Socrates showed that knowledge can be recollected by us. This is very applicable to the study of old and new media.What if we approach Media Archaeology with this theory of recollection?

I remember the joy of such recollection through Media Archaeology. One experience is understanding how programming and interface design is related to childhood toys such as Digimon and Game Boys. Also, the same media and knowledge also created frustration in my mind.When I encountered recent Net Art culture such as the Vaporwave visuals, I realised the current media is so fast that many of the roots and original sources could get lost easily, even forgotten. Through Media Archaeology, it is important to revisit the surface and look at the inner level of related ideas & forms of the Topoi. In the process, I wish to plot out these trajectories and transformation.These may include new media art topics ranges from Philosophies, Technologies, Machines, Generative Art, Gaming, Coding, Computing, Device art, Memes, NFT, etc.

These explorations are expected to be never completed, revealing ruins and traces. Just as an explorer in the site of an ancient civilisation, any sights recording or sketching can lead to the next curious adventurer to begin their own journey.



媒體考古可被認定為一個過程,先定位一個Topoi (意象或主題),然後追索出它的軌道以及變化。(Huhtamo & Parikka,2011) 在某個觀點上,它可以被理解為對於媒體的深度研究。 在這媒體考古話語中,有著不同的方法。例字可由看麥克魯漢的《認識媒體》至到在看Youtuber對下一個新遊戲續作的回顧史。博物館,學者和藝術家等已經應用媒體考古了在他們感興趣的媒體了。但那些是他們的旅程。何不來一個自己的旅程?

在帕拉圖《美諾篇》內的一個故事內, 蘇格拉底示範了知識是可以被重獲的。在新舊媒體的研究上,這是可應用的。我們可以用這重獲的理論去作媒體考古嗎?

我記得於媒體考古中體驗重獲的喜悅。像是了解到編程跟介面設計如何跟童年的玩具有關,例如數碼暴龍和Game Boy等。但有時侯,同一媒體與知識卻同時會令人費解。當我在幾年前遇到網絡藝術如蒸氣波視覺,我發現當今媒體已快到令根源和起源極容易迷失,甚至被忘記。透過媒體考古,重新探究在表面,再深入Topoi的內在概念和形態。過程中,我希望可追索出軌道以及變化。它們可以是新媒體藝術的主題,由哲學,科技,機器,生成藝術,遊戲,電腦,裝置,迷因,NFT… 等等

別期望這些探索會完整。它會是遺跡與線索 。就如到訪古文明建設點的探險者,任何記錄和繪稿都有可能令到下一位好奇的冒險家去開展他們的旅程。