PAMAL - Contributions de l’utilisateur [fr]

Centerbeam. A Performative Sculpture by CAVS - 24 mai 2017

2017-04-24T14:20:49Z

Morgane :

Centerbeam. A Performative Sculpture by CAVS

[[Category:News]]

Wed, 24.05.2017 – Sun, 01.10.2017, ZKM_Atrium 1+2

Description

With its exhibition "Centerbeam. A Performative Sculpture by CAVS", the ZKM | Karlsruhe marks the 40th anniversary and, parallel to this year’s documenta, recalls the legendary contribution of the Center for Advanced Visual Studies (CAVS) at the Massachusetts Institute of Technology (MIT) to the documenta 6 in Kassel in 1977. The spectacular outdoor installation, which was almost 44 meters long, was a joint project by CAVS Fellows based on an idea by the artist Lowry Burgess, and designed at MIT. It was presented at the documenta 6 in front of the Orangerie. One year later, in 1978, a second version was exhibited at the National Mall in Washington, DC. The installation utilized the at that time newest artistic technologies, such as lasers, holography, steam, neon, video, and inflatables to create a multimedia "art machine" (Manfred Schneckenburger), an "aqueduct into the 21st century" that propagated the fruitful collaboration of artists, scientists, and engineers.

In 1967, CAVS was founded at the MIT by György Kepes, an artist and influential theoretician who had previously taught at the New Bauhaus in Chicago. A close colleague of László Moholy-Nagy, Kepes was a strong advocate of collaboration between the arts and sciences. Under Kepes’ chairmanship, and since 1974 under his successor Otto Piene, CAVS awarded Fellow scholarships to artists who experimented at the Center with scientists, technicians, and engineers in various projects situated at the interface between art and innovative technological developments. With this unique working environment, in the field of new media, CAVS was a model for the conception of the ZKM | Karlsruhe in the 1980s.

For Otto Piene, Centerbeam was "a metaphor of the community of volunteers forming daily symbioses (the relationships of a democratic society)." As a collaborative effort involving more than fourteen artists as well as scientists, engineers, and MIT students, "Centerbeam" made an impressive appeal at documenta 6 and in Washington, DC, for organic cooperation between different disciplines and the expansion of artistic means of expression to embrace the very latest technology. By day, the main character of the installation which reminded one of a greenhouse or a pipeline was participative with prismatic reflections in the water and holographic effects; by night "Centerbeam" transformed into a "friendly inferno" (Otto Piene), a power-charged stage for laser projections, concerts, performances, and sky events.

Over recent years the ZKM has endeavored to produce and overhaul the scientific documentation on "Centerbeam" and its kinetic, performative, and participatory modes of functioning. The core idea was to create together with the artists a Centerbeam 3, an updated version of the historic installation. With the aid of archive material and surviving remnants of the original Centerbeam the current exhibition explores possible methods of such a reconstruction with regard to contemporary issues of media conservation as a case study reflecting on and relevant to the restoration of the media art collection of the ZKM.

Curators

Philipp Ziegler, Lívia Nolasco-Rózsás, Morgane Stricot

Organization / Institution

ZKM | Karlsruhe

Partners

In cooperation with MIT Museum, MIT Act Program in art, culture and technology, MIT CAVS Special Collection and PAMAL (Preservation & Art - Media Archaeology Lab), Avignon.

Centerbeam. A Performative Sculpture by CAVS - 24 mai 2017

2017-04-24T14:20:26Z

Morgane :

Centerbeam. A Performative Sculpture by CAVS

[[Category:News]]

Wed, 24.05.2017 – Sun, 01.10.2017, ZKM_Atrium 1+2

Description

With its exhibition "Centerbeam. A Performative Sculpture by CAVS", the ZKM | Karlsruhe marks the 40th anniversary and, parallel to this year’s documenta, recalls the legendary contribution of the Center for Advanced Visual Studies (CAVS) at the Massachusetts Institute of Technology (MIT) to the documenta 6 in Kassel in 1977. The spectacular outdoor installation, which was almost 44 meters long, was a joint project by CAVS Fellows based on an idea by the artist Lowry Burgess, and designed at MIT. It was presented at the documenta 6 in front of the Orangerie. One year later, in 1978, a second version was exhibited at the National Mall in Washington, DC. The installation utilized the at that time newest artistic technologies, such as lasers, holography, steam, neon, video, and inflatables to create a multimedia "art machine" (Manfred Schneckenburger), an "aqueduct into the 21st century" that propagated the fruitful collaboration of artists, scientists, and engineers.

In 1967, CAVS was founded at the MIT by György Kepes, an artist and influential theoretician who had previously taught at the New Bauhaus in Chicago. A close colleague of László Moholy-Nagy, Kepes was a strong advocate of collaboration between the arts and sciences. Under Kepes’ chairmanship, and since 1974 under his successor Otto Piene, CAVS awarded Fellow scholarships to artists who experimented at the Center with scientists, technicians, and engineers in various projects situated at the interface between art and innovative technological developments. With this unique working environment, in the field of new media, CAVS was a model for the conception of the ZKM | Karlsruhe in the 1980s.

For Otto Piene, Centerbeam was "a metaphor of the community of volunteers forming daily symbioses (the relationships of a democratic society)." As a collaborative effort involving more than fourteen artists as well as scientists, engineers, and MIT students, »Centerbeam« made an impressive appeal at documenta 6 and in Washington, DC, for organic cooperation between different disciplines and the expansion of artistic means of expression to embrace the very latest technology. By day, the main character of the installation which reminded one of a greenhouse or a pipeline was participative with prismatic reflections in the water and holographic effects; by night "Centerbeam" transformed into a "friendly inferno" (Otto Piene), a power-charged stage for laser projections, concerts, performances, and sky events.

Over recent years the ZKM has endeavored to produce and overhaul the scientific documentation on "Centerbeam" and its kinetic, performative, and participatory modes of functioning. The core idea was to create together with the artists a Centerbeam 3, an updated version of the historic installation. With the aid of archive material and surviving remnants of the original Centerbeam the current exhibition explores possible methods of such a reconstruction with regard to contemporary issues of media conservation as a case study reflecting on and relevant to the restoration of the media art collection of the ZKM.

Curators

Philipp Ziegler, Lívia Nolasco-Rózsás, Morgane Stricot

Organization / Institution

ZKM | Karlsruhe

Partners

In cooperation with MIT Museum, MIT Act Program in art, culture and technology, MIT CAVS Special Collection and PAMAL (Preservation & Art - Media Archaeology Lab), Avignon.

Centerbeam. A Performative Sculpture by CAVS - 24 mai 2017

2017-04-24T11:06:41Z

Morgane :

Centerbeam. A Performative Sculpture by CAVS

[[Category:News]]

Wed, 24.05.2017 – Sun, 01.10.2017, ZKM_Atrium 1+2

Description

With its exhibition »Centerbeam. A Performative Sculpture by CAVS«, the ZKM | Karlsruhe marks the 40th anniversary and, parallel to this year’s documenta, recalls the legendary contribution of the Center for Advanced Visual Studies (CAVS) at the Massachusetts Institute of Technology (MIT) to the documenta 6 in Kassel in 1977. The spectacular outdoor installation, which was almost 44 meters long, was a joint project by CAVS Fellows based on an idea by the artist Lowry Burgess, and designed at MIT. It was presented at the documenta 6 in front of the Orangerie. One year later, in 1978, a second version was exhibited at the National Mall in Washington, DC. The installation utilized the at that time newest artistic technologies, such as lasers, holography, steam, neon, video, and inflatables to create a multimedia »art machine« (Manfred Schneckenburger), an «aqueduct into the 21st century« that propagated the fruitful collaboration of artists, scientists, and engineers.

In 1967, CAVS was founded at the MIT by György Kepes, an artist and influential theoretician who had previously taught at the New Bauhaus in Chicago. A close colleague of László Moholy-Nagy, Kepes was a strong advocate of collaboration between the arts and sciences. Under Kepes’ chairmanship, and since 1974 under his successor Otto Piene, CAVS awarded Fellow scholarships to artists who experimented at the Center with scientists, technicians, and engineers in various projects situated at the interface between art and innovative technological developments. With this unique working environment, in the field of new media, CAVS was a model for the conception of the ZKM | Karlsruhe in the 1980s.

For Otto Piene, Centerbeam was »a metaphor of the community of volunteers forming daily symbioses (the relationships of a democratic society).« As a collaborative effort involving more than fourteen artists as well as scientists, engineers, and MIT students, »Centerbeam« made an impressive appeal at documenta 6 and in Washington, DC, for organic cooperation between different disciplines and the expansion of artistic means of expression to embrace the very latest technology. By day, the main character of the installation which reminded one of a greenhouse or a pipeline was participative with prismatic reflections in the water and holographic effects; by night »Centerbeam« transformed into a »friendly inferno« (Otto Piene), a power-charged stage for laser projections, concerts, performances, and sky events.

Over recent years the ZKM has endeavored to produce and overhaul the scientific documentation on »Centerbeam« and its kinetic, performative, and participatory modes of functioning. The core idea was to create together with the artists a Centerbeam 3, an updated version of the historic installation. With the aid of archive material and surviving remnants of the original Centerbeam the current exhibition explores possible methods of such a reconstruction with regard to contemporary issues of media conservation as a case study reflecting on and relevant to the restoration of the media art collection of the ZKM.

KuratorInnen

Philipp Ziegler (Curator)Lívia Nolasco-Rózsás (Curator)Morgane Stricot (Curator)

Organization / Institution

ZKM | Karlsruhe

Partners

In cooperation with MIT Museum, MIT Act Program in art, culture and technology, MIT CAVS Special Collection and PAMAL (Preservation & Art - Media Archaeology Lab), Avignon.

Centerbeam. A Performative Sculpture by CAVS - 24 mai 2017

2017-04-24T11:06:15Z

Morgane :

Centerbeam. A Performative Sculpture by CAVS

[[Category:News]]

Wed, 24.05.2017 – Sun, 01.10.2017, ZKM_Atrium 1+2

Description
With its exhibition »Centerbeam. A Performative Sculpture by CAVS«, the ZKM | Karlsruhe marks the 40th anniversary and, parallel to this year’s documenta, recalls the legendary contribution of the Center for Advanced Visual Studies (CAVS) at the Massachusetts Institute of Technology (MIT) to the documenta 6 in Kassel in 1977. The spectacular outdoor installation, which was almost 44 meters long, was a joint project by CAVS Fellows based on an idea by the artist Lowry Burgess, and designed at MIT. It was presented at the documenta 6 in front of the Orangerie. One year later, in 1978, a second version was exhibited at the National Mall in Washington, DC. The installation utilized the at that time newest artistic technologies, such as lasers, holography, steam, neon, video, and inflatables to create a multimedia »art machine« (Manfred Schneckenburger), an «aqueduct into the 21st century« that propagated the fruitful collaboration of artists, scientists, and engineers.

In 1967, CAVS was founded at the MIT by György Kepes, an artist and influential theoretician who had previously taught at the New Bauhaus in Chicago. A close colleague of László Moholy-Nagy, Kepes was a strong advocate of collaboration between the arts and sciences. Under Kepes’ chairmanship, and since 1974 under his successor Otto Piene, CAVS awarded Fellow scholarships to artists who experimented at the Center with scientists, technicians, and engineers in various projects situated at the interface between art and innovative technological developments. With this unique working environment, in the field of new media, CAVS was a model for the conception of the ZKM | Karlsruhe in the 1980s.

For Otto Piene, Centerbeam was »a metaphor of the community of volunteers forming daily symbioses (the relationships of a democratic society).« As a collaborative effort involving more than fourteen artists as well as scientists, engineers, and MIT students, »Centerbeam« made an impressive appeal at documenta 6 and in Washington, DC, for organic cooperation between different disciplines and the expansion of artistic means of expression to embrace the very latest technology. By day, the main character of the installation which reminded one of a greenhouse or a pipeline was participative with prismatic reflections in the water and holographic effects; by night »Centerbeam« transformed into a »friendly inferno« (Otto Piene), a power-charged stage for laser projections, concerts, performances, and sky events.

Over recent years the ZKM has endeavored to produce and overhaul the scientific documentation on »Centerbeam« and its kinetic, performative, and participatory modes of functioning. The core idea was to create together with the artists a Centerbeam 3, an updated version of the historic installation. With the aid of archive material and surviving remnants of the original Centerbeam the current exhibition explores possible methods of such a reconstruction with regard to contemporary issues of media conservation as a case study reflecting on and relevant to the restoration of the media art collection of the ZKM.

KuratorInnen

Philipp Ziegler (Curator)Lívia Nolasco-Rózsás (Curator)Morgane Stricot (Curator)

Organization / Institution

ZKM | Karlsruhe

Partners

In cooperation with MIT Museum, MIT Act Program in art, culture and technology, MIT CAVS Special Collection and PAMAL (Preservation & Art - Media Archaeology Lab), Avignon.

Retro Engineering and Alternative Histories: Possible Road Toward Media Archaeological Reconstruction

2017-04-24T11:04:20Z

Morgane :

Leonardo
April 2017, Vol. 50, No. 2, Pages: 192-193

[http://www.mitpressjournals.org/doi/abs/10.1162/LEON_a_01388#.WP3aB4jyjDc Posted Online April 6, 2017].

(doi:10.1162/LEON_a_01388)

©2017 ISAST

Morgane Stricot

PAMAL (Preservation & Art—Media Archaeology Lab), Higher School of Art, Avignon, France. Email: morgane.stricot@gmail.com.

Abstract:

This article gives insight into research on media archaeological reconstruction of media and digital artworks. This experimental approach, illustrated by two practical cases, results in a duplication of the artworks within their original machines and languages. Based on retro-engineering, this approach is becoming a way to investigate the known, unknown and alternative stories by and for the machines, the goal being to produce archives, witnesses of the machines’ related history and inherent imaginary.

Retro Engineering and Alternative Histories: Possible Road Toward Media Archaeological Reconstruction

2017-04-24T11:03:59Z

Morgane :

== '''Retro-Engineering and Alternative Histories: Possible Roads toward Media Archaeological Reconstruction''' ==

Leonardo
April 2017, Vol. 50, No. 2, Pages: 192-193

[http://www.mitpressjournals.org/doi/abs/10.1162/LEON_a_01388#.WP3aB4jyjDc Posted Online April 6, 2017].

(doi:10.1162/LEON_a_01388)

©2017 ISAST

Morgane Stricot

PAMAL (Preservation & Art—Media Archaeology Lab), Higher School of Art, Avignon, France. Email: morgane.stricot@gmail.com.

Abstract:

This article gives insight into research on media archaeological reconstruction of media and digital artworks. This experimental approach, illustrated by two practical cases, results in a duplication of the artworks within their original machines and languages. Based on retro-engineering, this approach is becoming a way to investigate the known, unknown and alternative stories by and for the machines, the goal being to produce archives, witnesses of the machines’ related history and inherent imaginary.

Retro Engineering and Alternative Histories: Possible Road Toward Media Archaeological Reconstruction

2017-04-24T11:03:31Z

Morgane :

== '''Retro-Engineering and Alternative Histories: Possible Roads toward Media Archaeological Reconstruction''' ==

Leonardo
April 2017, Vol. 50, No. 2, Pages: 192-193 
[http://www.mitpressjournals.org/doi/abs/10.1162/LEON_a_01388#.WP3aB4jyjDc Posted Online April 6, 2017].
(doi:10.1162/LEON_a_01388)
©2017 ISAST

Morgane Stricot
PAMAL (Preservation & Art—Media Archaeology Lab), Higher School of Art, Avignon, France. Email: morgane.stricot@gmail.com.

Abstract:
This article gives insight into research on media archaeological reconstruction of media and digital artworks. This experimental approach, illustrated by two practical cases, results in a duplication of the artworks within their original machines and languages. Based on retro-engineering, this approach is becoming a way to investigate the known, unknown and alternative stories by and for the machines, the goal being to produce archives, witnesses of the machines’ related history and inherent imaginary.

Retro Engineering and Alternative Histories: Possible Road Toward Media Archaeological Reconstruction

2017-04-24T11:02:10Z

Morgane :

Retro-Engineering and Alternative Histories: Possible Roads toward Media Archaeological Reconstruction

Leonardo
April 2017, Vol. 50, No. 2, Pages: 192-193
[http://www.mitpressjournals.org/doi/abs/10.1162/LEON_a_01388#.WP3aB4jyjDc Posted Online April 6, 2017].
(doi:10.1162/LEON_a_01388)
©2017 ISAST

Morgane Stricot
PAMAL (Preservation & Art—Media Archaeology Lab), Higher School of Art, Avignon, France. Email: morgane.stricot@gmail.com.

Abstract:
This article gives insight into research on media archaeological reconstruction of media and digital artworks. This experimental approach, illustrated by two practical cases, results in a duplication of the artworks within their original machines and languages. Based on retro-engineering, this approach is becoming a way to investigate the known, unknown and alternative stories by and for the machines, the goal being to produce archives, witnesses of the machines’ related history and inherent imaginary.

Retro Engineering and Alternative Histories: Possible Road Toward Media Archaeological Reconstruction

2017-04-24T11:01:22Z

Morgane : Page créée avec « Leonardo April 2017, Vol. 50, No. 2, Pages: 192-193 [http://www.mitpressjournals.org/doi/abs/10.1162/LEON_a_01388#.WP3aB4jyjDc Posted Online April 6, 2017]. (doi:10.1162/... »

Leonardo

April 2017, Vol. 50, No. 2, Pages: 192-193
[http://www.mitpressjournals.org/doi/abs/10.1162/LEON_a_01388#.WP3aB4jyjDc Posted Online April 6, 2017].
(doi:10.1162/LEON_a_01388)
©2017 ISAST

Retro-Engineering and Alternative Histories: Possible Roads toward Media Archaeological Reconstruction

Morgane Stricot
PAMAL (Preservation & Art—Media Archaeology Lab), Higher School of Art, Avignon, France. Email: morgane.stricot@gmail.com.

Abstract:
This article gives insight into research on media archaeological reconstruction of media and digital artworks. This experimental approach, illustrated by two practical cases, results in a duplication of the artworks within their original machines and languages. Based on retro-engineering, this approach is becoming a way to investigate the known, unknown and alternative stories by and for the machines, the goal being to produce archives, witnesses of the machines’ related history and inherent imaginary.

Articles

2017-04-24T10:59:51Z

Morgane : /* Articles à comité de lecture */

== Articles à comité de lecture ==
2017 
Guez (E.), Stricot (M.), Broye (L.), Bizet (S.), "The afterlives of network-based artworks", The Journal of the Institute of Conservation (ICON), London, à paraître 2017 
Guez (E.), "L'art média-archéologique. Une repolitisation de l'art" (conférence du 15 octobre 2015), Hybrid, n°3, Labex arts-H2H, [http://www.hybrid.univ-paris8.fr/lodel/index.php?id=621] (consulté le 15 mars 2017) 
2016 
Stricot (M.), "[[Retro Engineering and Alternative Histories: Possible Road Toward Media Archaeological Reconstruction]]", ''Leonardo'', Vol. 50, No. 2, Pages: 192-193, 6 avril 2017. 
2015 
Guez (E.), Vargoz (F.), "Une histoire de l'ordinateur du point de vue de la théorie des média", ''Cahiers philosophiques'', n°141, 2015.

== Contributions à des ouvrages collectifs==
2017 
Guez (E.), "[[La conservation-restauration des arts numériques en résumé(s)]]", in : J.-M. Dallet, B. Gervais (éd.), Architectures de Mémoire, Les Presses du réel, à paraître 2017. 
2015 
Broye (L.), Galeazzi (P.), Guez (E.), "[[Save our bits !]]", ''Cahiers de l'Obsin'', n°5, 2015. Article précédemment publié dans MCD#75 (version légèrement remaniée) 
Bruno (C.), Guez (E.), [["Une archéologie du bug"]], ''Cahiers de l'Obsin'', n°5, 2015. Article précédemment publié dans MCD#75 (version légèrement remaniée) - [[MCD75_bruno_guez_archeologie_du_bug.pdf|Télécharger l'article paru dans MCD#75]]

== Autres articles ==
2016 
Collectif, [[Manifeste Médiarchéologiste]], juin 2016. 
Guez (E.), "[[Préserver les arts numériques]]", ''[http://www.culturecommunication.gouv.fr/Politiques-ministerielles/Recherche-Enseignement-superieur-Technologie/La-revue-Culture-et-Recherche/PATRIMOINES.-Enjeux-contemporains-de-la-recherche Culture et Recherche]'', n°133, été 2016. 
Guez (E.), [["Art et archéologie des média"]], "Newsletter, Parachèvement continu", n°14, HEAD, 2016. 

== Blogs ==
2016 
Bizet (S.), [http://bizets.blogspot.co.at/2016/01/angelino.html Code Arduino mis à jour de l'Angelino] (15 janvier 2016) (Oeuvre: [[ANGELINO]] d'Albertine Meunier) 

2015 
Bizet (S.), [http://bizets.blogspot.co.at/2015/12/angelino.html Encore du nouveau sur Angelino] (10 décembre 2015) (Oeuvre: [[ANGELINO]] d'Albertine Meunier) 
Bizet (S.), [http://bizets.blogspot.co.at/2015/11/serveur-minitel-100-arduino.html Serveur Minitel 100% Arduino] (20 novembre 2015) (Oeuvre : [[VIDEOTEXT_POEMS]] d'Eduardo Kac) 
Bizet (S.), [http://bizets.blogspot.co.at/2015/11/serveur-minitel-avec-raspberry-arduino.html Serveur Minitel avec Raspberry et Arduino] (19 novembre 2015) (Oeuvre : [[VIDEOTEXT_POEMS]] d'Eduardo Kac) 
Bizet (S.), [http://bizets.blogspot.co.at/2015/06/minitel-sortie-video.html Minitel, sortie vidéo] (5 juin 2015) (Oeuvre : [[VIDEOTEXT_POEMS]] d'Eduardo Kac), Complété par [http://bizets.blogspot.co.at/2015/06/minitel-video-2.html Minitel, sortie vidéo 2] (7 juin 2015) 
Bizet (S.), [http://bizets.blogspot.co.at/2015/02/retour-sur-angelino-connexion-avec-une.html Retour sur Angelino : Connexion avec une Raspberry] (25 février 2015) (Oeuvre: [[ANGELINO]] d'Albertine Meunier) 
Bizet (S.), [http://bizets.blogspot.co.at/2015/01/minitel-arduino-kac.html Minitel, Arduino en stand alone, Eduardo Kac] (18 janvier 2015) (Oeuvre : [[VIDEOTEXT_POEMS]] d'Eduardo Kac) 

2014 
Bizet (S), [http://bizets.blogspot.co.at/2014/12/minitel-modem.html Minitel Modem] (29 décembre 2014) (Oeuvre : [[VIDEOTEXT_POEMS]] d'Eduardo Kac) 
Bizet (S), [http://bizets.blogspot.co.at/2014/12/minitel-avec-la-prise-peri-informatique.html Brancher un Minitel avec une prise peri-informatique] (29 décembre 2014) (Oeuvre : [[VIDEOTEXT_POEMS]] d'Eduardo Kac) 
Bizet (S.), [http://bizets.blogspot.co.at/2014/11/twitter-et-processing.html Twitter et Processing] (9 novembre 2014) (Oeuvre: [[ANGELINO]] d'Albertine Meunier) 
Bizet (S.), [http://bizets.blogspot.co.at/2014/04/twitter-et-processing.html Twitter et Processing] (13 avril 2014) (Oeuvre: [[ANGELINO]] d'Albertine Meunier) 
Bizet (S.), [http://bizets.blogspot.co.at/2014/04/twitter-et-arduino-le-retour.html Twitter et Arduino, le retour] (7 avril 2014) (Oeuvre: [[ANGELINO]] d'Albertine Meunier) 
Bizet (S.), [http://bizets.blogspot.co.at/2014/04/twitter-et-arduino.html?q=angelino Twitter et Arduino] (1 avril 2014) (Oeuvre: [[ANGELINO]] d'Albertine Meunier) 

==Études de cas sur pamal.org==
*Broye (L.), [[COUNTER]], 2015
*Stricot (M.), LES [[ARCHIVES DE ZAPPING ZONE]], 2016

== Revues ==
2014 
Guez (E.) (sous la dir. de), Archéologie des média, MCD, #75, septembre-novembre 2014.

Articles

2017-04-24T10:58:12Z

Morgane : /* Articles à comité de lecture */

== Articles à comité de lecture ==
2017 
Guez (E.), Stricot (M.), Broye (L.), Bizet (S.), "The afterlives of network-based artworks", The Journal of the Institute of Conservation (ICON), London, à paraître 2017 
Guez (E.), "L'art média-archéologique. Une repolitisation de l'art" (conférence du 15 octobre 2015), Hybrid, n°3, Labex arts-H2H, [http://www.hybrid.univ-paris8.fr/lodel/index.php?id=621] (consulté le 15 mars 2017) 
2016 
Stricot (M.), "[[Retro Engineering and Alternative Histories: Possible Road Toward Media Archaeological Reconstruction]]", ''Leonardo'', à paraître 2016. 
2015 
Guez (E.), Vargoz (F.), "Une histoire de l'ordinateur du point de vue de la théorie des média", ''Cahiers philosophiques'', n°141, 2015.

== Contributions à des ouvrages collectifs==
2017 
Guez (E.), "[[La conservation-restauration des arts numériques en résumé(s)]]", in : J.-M. Dallet, B. Gervais (éd.), Architectures de Mémoire, Les Presses du réel, à paraître 2017. 
2015 
Broye (L.), Galeazzi (P.), Guez (E.), "[[Save our bits !]]", ''Cahiers de l'Obsin'', n°5, 2015. Article précédemment publié dans MCD#75 (version légèrement remaniée) 
Bruno (C.), Guez (E.), [["Une archéologie du bug"]], ''Cahiers de l'Obsin'', n°5, 2015. Article précédemment publié dans MCD#75 (version légèrement remaniée) - [[MCD75_bruno_guez_archeologie_du_bug.pdf|Télécharger l'article paru dans MCD#75]]

== Autres articles ==
2016 
Collectif, [[Manifeste Médiarchéologiste]], juin 2016. 
Guez (E.), "[[Préserver les arts numériques]]", ''[http://www.culturecommunication.gouv.fr/Politiques-ministerielles/Recherche-Enseignement-superieur-Technologie/La-revue-Culture-et-Recherche/PATRIMOINES.-Enjeux-contemporains-de-la-recherche Culture et Recherche]'', n°133, été 2016. 
Guez (E.), [["Art et archéologie des média"]], "Newsletter, Parachèvement continu", n°14, HEAD, 2016. 

== Blogs ==
2016 
Bizet (S.), [http://bizets.blogspot.co.at/2016/01/angelino.html Code Arduino mis à jour de l'Angelino] (15 janvier 2016) (Oeuvre: [[ANGELINO]] d'Albertine Meunier) 

2015 
Bizet (S.), [http://bizets.blogspot.co.at/2015/12/angelino.html Encore du nouveau sur Angelino] (10 décembre 2015) (Oeuvre: [[ANGELINO]] d'Albertine Meunier) 
Bizet (S.), [http://bizets.blogspot.co.at/2015/11/serveur-minitel-100-arduino.html Serveur Minitel 100% Arduino] (20 novembre 2015) (Oeuvre : [[VIDEOTEXT_POEMS]] d'Eduardo Kac) 
Bizet (S.), [http://bizets.blogspot.co.at/2015/11/serveur-minitel-avec-raspberry-arduino.html Serveur Minitel avec Raspberry et Arduino] (19 novembre 2015) (Oeuvre : [[VIDEOTEXT_POEMS]] d'Eduardo Kac) 
Bizet (S.), [http://bizets.blogspot.co.at/2015/06/minitel-sortie-video.html Minitel, sortie vidéo] (5 juin 2015) (Oeuvre : [[VIDEOTEXT_POEMS]] d'Eduardo Kac), Complété par [http://bizets.blogspot.co.at/2015/06/minitel-video-2.html Minitel, sortie vidéo 2] (7 juin 2015) 
Bizet (S.), [http://bizets.blogspot.co.at/2015/02/retour-sur-angelino-connexion-avec-une.html Retour sur Angelino : Connexion avec une Raspberry] (25 février 2015) (Oeuvre: [[ANGELINO]] d'Albertine Meunier) 
Bizet (S.), [http://bizets.blogspot.co.at/2015/01/minitel-arduino-kac.html Minitel, Arduino en stand alone, Eduardo Kac] (18 janvier 2015) (Oeuvre : [[VIDEOTEXT_POEMS]] d'Eduardo Kac) 

2014 
Bizet (S), [http://bizets.blogspot.co.at/2014/12/minitel-modem.html Minitel Modem] (29 décembre 2014) (Oeuvre : [[VIDEOTEXT_POEMS]] d'Eduardo Kac) 
Bizet (S), [http://bizets.blogspot.co.at/2014/12/minitel-avec-la-prise-peri-informatique.html Brancher un Minitel avec une prise peri-informatique] (29 décembre 2014) (Oeuvre : [[VIDEOTEXT_POEMS]] d'Eduardo Kac) 
Bizet (S.), [http://bizets.blogspot.co.at/2014/11/twitter-et-processing.html Twitter et Processing] (9 novembre 2014) (Oeuvre: [[ANGELINO]] d'Albertine Meunier) 
Bizet (S.), [http://bizets.blogspot.co.at/2014/04/twitter-et-processing.html Twitter et Processing] (13 avril 2014) (Oeuvre: [[ANGELINO]] d'Albertine Meunier) 
Bizet (S.), [http://bizets.blogspot.co.at/2014/04/twitter-et-arduino-le-retour.html Twitter et Arduino, le retour] (7 avril 2014) (Oeuvre: [[ANGELINO]] d'Albertine Meunier) 
Bizet (S.), [http://bizets.blogspot.co.at/2014/04/twitter-et-arduino.html?q=angelino Twitter et Arduino] (1 avril 2014) (Oeuvre: [[ANGELINO]] d'Albertine Meunier) 

==Études de cas sur pamal.org==
*Broye (L.), [[COUNTER]], 2015
*Stricot (M.), LES [[ARCHIVES DE ZAPPING ZONE]], 2016

== Revues ==
2014 
Guez (E.) (sous la dir. de), Archéologie des média, MCD, #75, septembre-novembre 2014.