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

By Lisa Gitelman

Choice impressive educational identify, 2007.

In Always Already New, Lisa Gitelman explores the novelty of latest media whereas she asks what it ability to do media heritage. 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 topics and tools of old inquiry. offering unique case stories of Edison's first phonographs and the Pentagon's first allotted 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 20th. hence, Always Already New speaks to offer issues concerning the humanities up to to the emergent box of latest media stories. files and records are kernels of humanistic concept, after all—part of and celebration to the cultural impulse to maintain and interpret. Gitelman's argument indicates creative contexts for "humanities computing" whereas additionally delivering a brand new standpoint on such conventional humanities disciplines as literary history.

Making huge use of archival assets, 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 good judgment of public lifestyles and public reminiscence. in spite of everything Gitelman turns to the area broad internet and asks how the background of the net is already being instructed, how the net may also face up to historical past, and the way utilizing the internet could be generating the stipulations of its personal historicity.

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Extra info for Always Already New: Media, History, and the Data of Culture

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Audiences could draw and maintain their own distinctions, laugh at the appropriate moments, recognize impressions, and be in on the joke. They could participate together in the enactment of cultural hierarchy. Cultural hierarchy was enacted partly through carnivalesque gestures—body sounds or animal noises—the negative of bourgeois identity, newly contained, captured, by the mimetic device. ) Edison had proposed that his machine might preserve “our Washingtons, our Lincolns, [and] our Gladstones”—what Matthew Arnold called “the best that has been thought and [literally] said”—and yet the public capaciousness of the phonograph seemed to ask for the low, the other, and the infantile—the pro- or protosemiotic—all performed cathartically within the respectability of the middle-class lecture space and its rational, technocratic weal.

S. publishers pirated fervidly, particularly from the British press. 10 Part of the most basic connection between print and fact—that transparent Enlightenment logic that operates (what Michel Foucault identified as) the “author function,” and that lionizes textual authenticity and legitimates textual evidence11 —eroded in practice: readers know today how frustrating it is to pick up an edition, even an authorized “complete works” from the period, or a newspaper column, not to say a copy of a British novel published piratically in the United States, and receive little or no indication of the provenance of the work it presents.

Whole new modes of inscription—such as capturing sounds by phonograph in 1878, or creating and saving digital files today—make sense as a result of social processes that define their efficacy as simultaneously material and semiotic. A computer engineer can explain how digital files really are created and saved, but I would insist that the vernacular experience of this creatability and savability makes at least as much difference to the ongoing social definition (that is, the uses) of new, digital media.

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