Residual
Media
by Charles
R. Acland, Editor
University of Minnesota Press, Minneapolis,
2007
401 pp., 38 illus. Trade, US$ 25.00
ISBN: 0-8166-4472-1.
Reviewed by John F. Barber
Digital Technology and Culture
Washington State University Vancouver
jfbarber@eaze.net
The current rhetoric associated with new
media focuses on the "new": that which
is a higher "state of the art" or an upgrade
of the previous state resulting from technological
or practical/artistic application of new
abilities. But, what happens to that technology,
media, and artifacts orphaned, or worse,
made obsolete, by technological advancement,
newer state of the art, or evolving artistic
practices, the old, discarded, or residual
media?
Residual Media, an eclectic collection
of essays edited by Charles R. Acland,
grapples with these questions. The contributors,
representing the overlapping disciplines
of media studies, film studies, cultural
studies, and American studies, examine
how residual media are transported world-wide
where they (re)appear as "new" in different
contexts, are neglected or abandoned thus
creating environmental and landfill problems,
are repurposed, reconfigured, renewed,
or recycled as collectibles, memories,
even art, or are occupying home and commercial
storage space because they are seen as
still too valuable to warrant disposal.
A central focus in this collection is
the reigning myth of media, that "technological
change necessarily involves the 'new'
and consists solely of rupture from the
past" (xix). The contributors argue that
this myth ignores the crucial role of
continuity, as well as accumulation and
accommodation involved in the historical
process of change from one technological
state to another. New cultural phenomena,
they argue, rely on encounters with ideas,
technology, and uses that have been left
behind by an aging culture. The result
is that cultural change progresses unevenly,
often introducing the familiar into novel
contexts.
Essays examine an eclectic range of media:
vinyl records, radio, desktop computers,
television sets, telephones, sound cinema,
antiquarian photography, discarded letters,
newspapers, player pianos, typewriters,
and mechanical reading devices inserted
into a variety of practices: Internet
shopping, computer disposal, planned obsolescence,
recycling, vaudeville and musical performance,
journalism, DJ mixing, collecting, writing,
and speed reading.
Part 1, "Mechanics of Obsolescence," deals
with commercial, recycling, and artistic
practices for managing media material
as it obsolesces. The essays in this part
focus on the culture of hardware obsolescence,
the persistence of cultural value in obsolete
media artifacts, the role that "old" technologies/techniques
can play for "new" media artists, and
the potentially disruptive reassembly
of the "old" and "new."
Part 2, "Residual Uses," examines strategic
(re)deployments of old cultural media
forms. Essays here focus on the confounding
relationship between multimedia and museums,
the inventiveness of new media DJs as
they build musical styles and conventions
based on out of date 12-inch single recording
vinyl records, the entwinement of telephony
and journalism, and how resistance to
synch-sound film recording gave live vaudeville
one last spark of popularity before it
was overtaken by television.
Part 3, "Collecting and Circulating Material,"
focuses on the everyday domestic assembly
and archiving of media objects. Essay
subjects include efforts to make museums
mobile through the sale of reproductions
of the museum's collection, the life of
saved written love letters in the context
of email's disposability and its cheapening
of intimate paper-bound written discourse,
and the collecting of obsolete media forms
like horror videotapes and vinyl records.
Part 4, "Media, Mediation, and Historiography,"
investigates the role of history in providing
access to neglected cultural forces or
unrecognized influences like the feminist
press of the suffragette movement, taken
for granted discourses on ideas of communities
and politics that disguise their ideological
import, and the genealogy of broadcasting's
association with a particular set of ideas
about individuals and publics, and make
clear that such historical connections
have a residual presence in contemporary
political life.
Part 5, "Training, Technology, and Modern
Subjectivity," the final section, examines
the shaping of bodies and skills in relation
to technology. Essays address the technological
interface as one link between old and
new media and its ability to establish
a bodily and institutional memory as the
source technology fades away. For example,
the introduction of player pianos raised
debates concerning performance and authenticity.
Digital music prompts these same debates
today.
The various essays in these five parts
mark out the key issues facing cultural
and media studies. They also offer insight
and understanding of the life cycles of
technologies, ideas, and practices associated
with both old and new media.
As a collection of overlapping essays,
Residual Media is an innovative
approach to the aging of culture, revealing
that any existent culture (and its media)
ultimately dreams its successor into existence
and, that, furthermore, any new cultural
phenomena and its associated media relies
on encounters with the old in order to
become its successor.
In the end, Residual Media provides
an important corrective for current discussions/debate
regarding new media and its disassociation
with the past.