Not Signed-In
Which clippings match 'Digital Anthropology' keyword pg.1 of 1
25 OCTOBER 2015

Digital Economies

Environment and Planning A 2012, volume 44, pages 1009 – 1010



2015big datacultural anthropology • cultural labour • digital anthropologydigital dividedigital economics • digital labour • digital sweatshops • digital work • digital work practices • economic geography • economic inequality • gamed labour • geographic information science • Global Conference on Economic Geography • global Internet geography • global south • globalised production • human geography • immaterial labour • information geographies • Internet and information geographies • Mark Graham • means of production • microwork • outsourcingOxford Internet Institutepatterns of userestaurant findersocial inequality • sociocultural anthropology • space of flows • virtual labour • Wikipedia


Simon Perkins
21 MARCH 2014

Bruce Sterling: afterglow effects and digital detritus

"Cypherpunk writer, journalist and critic Bruce Sterling gives a talk on the future of digital culture and its seedy (geo)politics at the opening ceremony of transmediale 2014 afterglow, January 29,2014. Introduction by Kristoffer Gansing."



2014 • afterglow • afterglow effects • afterlife of objects • Andy Cameron • Arduinoart production • atemporality • Bruce Sterlingcomputational artscyberpunkcypherpunkdebrisdigital anthropologydigital culturedigital detritusdigital graveyarddigital materialismDIYDragan Espenschiede-waste • electronic frontier • entropyGeocitiesgeopolitical landscapegeopolitics • gold rush • Grateful Deadhackinginternet of things • John Perry Barlow • Kristoffer Gansing • lived condition • means of production • mulch • net artnet.artnetartobsolescenceobsolete ecologiesobsolete technologyOlia Lialinapunch cardsRaspberry Piredundant technology • Richard Barbrook • surveillance • techart • the futureTransmediale festival • Walt Whitman


Liam Birtles
30 JUNE 2012

Internet Archaeology: graphic artefacts from our recent past

"Internet Archaeology seeks to explore, recover, archive and showcase the graphic artifacts found within earlier Internet Culture. Established in 2009, the chief purpose of Internet Archaeology is to preserve these artifacts and acknowledge their importance in understanding the beginnings and birth of an Internet Culture. We focus on graphic artifacts only, with the belief that images are most culturally revealing and immediate. Most of the files in our archive are in either JPG or GIF format and are categorized by either still or moving image, they are then arranged in various thematic subcategories. Currently, a major focus of Internet Archaeology is on the archiving and indexing of images found on Geocities websites, as their existence has been terminated by parent company Yahoo; who discontinued GeoCities operation on October 26, 2009. Internet Archaeology is an ongoing effort which puts preservation paramount. Unlike traditional archaeology, where physical artifacts are unearthed; Internet Archaeology's artifacts are digital, thus more temporal and transient. Yet we believe that these artifacts are no less important than say the cave paintings of Lascaux. They reveal the origins of a now ubiquitous Internet Culture; showing where we have been and how far we have come."

(Internet Archaeology)

Via Chelsea Nichols [–archaeology–the–best–of–90s–internet–graphics/]



1990s200920th century phenomenaaestheticsarchaeologyarchivearchiving • archiving and indexing • artefactcave paintingscultural codes • culturally revealing • cyber archaeologycyberculturedigital anthropologydigital artefactsdigital cultureemergence of the webGeocitiesGIF format • graphic artefacts • graphic artifacts • graphic designimagesindexindexingInternetinternet archaeologyinternet culture • JPG • JPG format • Lascauxnew mediaobsolescencepreservationrecent pasttransiencevisual designweb designweb pagesweb publishingYahoo!


Simon Perkins
06 JULY 2009

IA Summit 09 - Keynote Speech from Digital Anthropologist Michael Wesch

"Michael Wesch opened the IA Summit this year with a keynote that provides a fresh and ambitious direction for designers.

He points out that our 'audiences' aren't audiences at all, but rather creators, and our job is not to lecture but to enable.. The following is an outline of some of his key points; but listen to the clip to learn more.

Contrast Reveals Mediation
Wesch tells several stories about his study of cultural anthropology and how those illustrate how Western culture, and in particular US culture, has become completely mediated.

Inspiration Trumps
He then illustrates the process of how his video The Machine Is Us/ing Us becomes an internet phenomenon and how its rise represents an alternative to the mass media machine that has developed in the US over the last several decades.

Varieties of Media Bias
Content bias (e.g. liberal or conservative bent) is only one of many types of media bias, and that all of them add up to 'metaphysical bias.' The effects of this have not changed much over time, that comments made about the printing press can help us reflect on what is happening in the current environment. Wesch wants us, as the creators of the tools, to think about what environment we want to create and work towards it.

Checking Out
Using his classroom as a crucible, Wesch delves into how US culture arrived in its current state, using the assembly line as the starting place, moving through MTV, and onto American Idol. As a part of this journey, he traces the history of 'whatever' and comments on the current cultural impotence.

Burgeoning Transformation
Wesch then assembles a multi–faceted picture that there is hope for our culture through the interaction of digital artifacts. He spends a significant portion of the talk showing various example of these conversations. YouTube acts as a meme–spreader and remix environment, and Twitter allows you to see yourself clearly.

4chan, the disputably infamous 'imageboard,' morphs into Anonymous and plays tricks on over 9000 celebrities and groups that take themselves too seriously. Wesch makes the point that we're in the midst of a 'context collapse,' examines what that means, and shows what people are trying to do with the tools that are currently available.

Architectures of Participation
In the end, 'Architectures of Participation are becoming the architecture of our daily life.' Designers will be shaping the tools that shape the culture and hopes that our community of practice can help humanity 'do whatever it takes by whatever means necessary.'"
(Jeff Parks, Boxes and Arrows, 2009/04/05)



David Rogerson

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