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

By Lisa Gitelman

ISBN-10: 0262072718

ISBN-13: 9780262072717

Choice extraordinary educational identify, 2007.

In Always Already New, Lisa Gitelman explores the novelty of recent media whereas she asks what it capacity to do media historical past. utilizing the examples of early recorded sound and electronic networks, Gitelman demanding situations readers to consider the ways in which media paintings because the simultaneous matters and tools of ancient inquiry. featuring unique case stories 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 documents (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. for this reason, Always Already New speaks to give matters in regards to the humanities up to to the emergent box of latest media stories. documents and files are kernels of humanistic idea, after all—part of and occasion to the cultural impulse to maintain and interpret. Gitelman's argument indicates creative 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 each one emerged as neighborhood anomalies that have been but deeply embedded in the reigning common sense of public existence and public reminiscence. after all Gitelman turns to the area large net and asks how the historical past of the net is already being advised, how the internet may also face up to background, and the way utilizing the internet could be generating the stipulations of its personal historicity.

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

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These documents contain legible information, but they also carry plenty of other data by virtue of their materiality—their material existence and material or forensic properties. 38 A shared sense of writing, of what can be written down and what cannot, also helps make them comprehensible in a lot of subtle ways. A whole social context for and of writing existed then in Massachusetts, and a related context presently exists, although today’s tacit knowledge of writing includes influential details about what writing isn’t: it isn’t like photography; it isn’t like sound recording.

Whether scribbled down just a second ago or chiseled into stone during the sixth millennium BCE, whether captured in the blink of a shutter or accumulated over months and years of bookkeeping, inscriptions attest to the moments of their own inscription in the past. 37 For example, the history of the Salem witch trials is known largely because people at the time wrote about them. These documents contain legible information, but they also carry plenty of other data by virtue of their materiality—their material existence and material or forensic properties.

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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