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Abstract

/ In this article I examine the ways the archival process has compelled artists working in early electronic media, and new media to `self-emulate', to produce new versions of their artworks. I propose that upgrading steals the narrative of progress that spoke to the cultural effects of emerging technologies informing the original production of the work. Three artworks are examined in order to investigate how self-emulation has effected the evolution of new media artworks: The Helpless Robot by Norman White (1986—2004), Small Artist Pushing Technology (1987—) by Doug Back, and Listening Post (2003—) by Mark Hansen and Ben Rubin. The production of new versions of electronic media works primarily concerns integration with contemporary modes of exhibition and aesthetic trends. However, the materials that generated early electronic media works spoke to the larger discourse of our relationship to technology. This article investigates this dilemma.

Keywords

machinic aesthetics media migration renewal robotics self-emulation upgrades

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References

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Self-Emulation

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