{"id":25475,"date":"2020-10-25T16:16:03","date_gmt":"2020-10-25T15:16:03","guid":{"rendered":"https:\/\/balkon.art\/home\/?p=25475"},"modified":"2022-01-08T09:10:30","modified_gmt":"2022-01-08T08:10:30","slug":"kiserlet-gyakorlat-elmelet","status":"publish","type":"post","link":"https:\/\/balkon.art\/home\/kiserlet-gyakorlat-elmelet\/","title":{"rendered":"K\u00eds\u00e9rlet, gyakorlat, elm\u00e9let"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” class=”p-2-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Tanulm\u00e1nyk\u00f6tet a m\u00e9dia archeol\u00f3gia meghat\u00e1roz\u00f3 szerz\u0151it\u0151l<\/h3>\n[\/vc_column_text][vc_column_text]\n

New Media Archaeologies.<\/em> Amsterdam University Press, 2019
\nSzerk.: Ben Roberts \u00e9s Mark Goodall<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”0″ bottom_padding=”0″ text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Egy sokszerz\u0151s tematikus tanulm\u00e1nyk\u00f6tet \u00edr\u00e1sait legink\u00e1bb az elemz\u00e9sek t\u00e1rgyk\u00f6re, esetleg megk\u00f6zel\u00edt\u00e9si m\u00f3dszer\u00fck k\u00f6ti \u00f6ssze, f\u0171zi egys\u00e9gbe.1<\/span> Jelen k\u00f6tetre mindkett\u0151 igaz. A t\u00f6bbsz\u00f6r case study jelleg\u0171 elemz\u00e9sek visszat\u00e9r\u0151 vez\u00e9rgondolataik \u2013 mint p\u00e9ld\u00e1ul a m\u00e9dia anyagszer\u0171s\u00e9g\u00e9nek hangs\u00falyoz\u00e1sa, az \u00fajraj\u00e1tsz\u00e1s, mint m\u00f3dszer prioriz\u00e1l\u00e1sa, a heurisztikus megk\u00f6zel\u00edt\u00e9s el\u0151t\u00e9rbe helyez\u00e9se \u2013 mellett, a kereszthivatkoz\u00e1sokb\u00f3l kiolvashat\u00f3 szoros kor\u00e1bbi egy\u00fcttm\u0171k\u00f6d\u00e9sek miatt is megk\u00edv\u00e1nj\u00e1k, hogy a tanulm\u00e1nyk\u00f6tetre egys\u00e9gk\u00e9nt \u00e9s nem k\u00fcl\u00f6n-k\u00fcl\u00f6n olvasand\u00f3 sz\u00f6vegek gy\u0171jtem\u00e9nyek\u00e9nt tekints\u00fcnk. Annak ellen\u00e9re, hogy a technika-t\u00f6rt\u00e9netben tal\u00e1n nehezebb elvonatkoztatni a \u201efejl\u0151d\u00e9s felfog\u00e1st\u00f3l\u201d \u2013 vagyis egy technol\u00f3gi\u00e1ban rejl\u0151 lehet\u0151s\u00e9gek egyre nagyobb m\u00e9rt\u00e9k\u0171 kibontakoz\u00e1s\u00e1t\u00f3l, az \u201einnov\u00e1ci\u00f3-centrizmust\u00f3l\u201d,2<\/span> a \u201egy\u0151ztes\u201d technol\u00f3gi\u00e1k t\u00f6rt\u00e9net\u00e9t\u0151l3<\/span> \u2013, nem \u00fajkelet\u0171 a m\u00e9dia t\u00f6rt\u00e9net linearit\u00e1s\u00e1nak megk\u00e9rd\u0151jelez\u00e9se. Jussi Parikka<\/span> \u00e9s Erik Huhtamo<\/span> polil\u00f3gus \u2013 a kett\u0151n\u00e9l t\u00f6bb r\u00e9sztvev\u0151s diskurzusra vonatkoz\u00f3 \u2013 fogalma, Gilles Deleuz<\/span>e \u00e9s F\u00e9lix Guattari<\/span> nomadol\u00f3gia gyakorlata vagy Siegfried Zielinski<\/span> felh\u00edv\u00e1sa, hogy figyelm\u00fcnket a t\u00f6rt\u00e9nelmi mestertervekben \u00e9szlelhet\u0151 t\u00f6r\u00e9sekre \u00e9s fordul\u00f3pontokra ir\u00e1ny\u00edtsuk, mind a t\u00f6rt\u00e9net egys\u00e9ges folyamatk\u00e9nt val\u00f3 \u00e9rtelmez\u00e9se ellen sz\u00f3lnak.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” top_margin=”0″ bottom_margin=”0″ background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

1<\/p>\n

A tanulm\u00e1nyoknak egy r\u00e9sze m\u00e1r kor\u00e1bban, k\u00fcl\u00f6n publik\u00e1ci\u00f3k\u00e9nt is napvil\u00e1got l\u00e1tott.<\/p>\n

2<\/p>\n

Peter Buse:<\/span> Collector, Hoarder, Media Archaeologist. Walter Benjamin with Vivian Maier, 148.<\/p>\n

3<\/p>\n

Ben Roberts:<\/span> Media Archaeology and Critical Theory of Technology, 157.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” class=”p-cont-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”25480″ animation=”Fade In” hover_animation=”none” alignment=”center” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”0″ bottom_padding=”0″ text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” class=”p-8-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]A k\u00f6tetben szerepl\u0151 tanulm\u00e1nyokat a szerkeszt\u0151k h\u00e1rom f\u0151 tematikai r\u00e9szbe osztott\u00e1k: (1) K\u00eds\u00e9rleti m\u00e9dia archeol\u00f3gia<\/em> c\u00edm\u0171 r\u00e9szben alapvet\u0151en a szerz\u0151k \u00e1ltal vezetett gyakorlatokb\u00f3l levont k\u00f6vetkeztet\u00e9sek olvashat\u00f3k, a (2) M\u00e9dia archeol\u00f3gia elm\u00e9let<\/em> szakaszban a m\u00e9dia archeol\u00f3gia mint tudom\u00e1ny\u00e1g elm\u00e9leti forr\u00e1sair\u00f3l \u2013 k\u00fcl\u00f6n\u00f6s tekintettel Walter Benjamin<\/span> \u00edr\u00e1saira \u2013 tal\u00e1lhat\u00f3k elemz\u00e9sek, m\u00edg a (3) M\u00e9dia archeol\u00f3gia az interf\u00e9szn\u00e9l<\/em> r\u00e9szben a k\u00e9t tanulm\u00e1ny jelleg\u00e9ben er\u0151sen elt\u00e9r: Angela Piccini<\/span> a bristoli Cube Microplex4<\/span> ter\u00e9ben alkalmazott, klasszikus archeol\u00f3giai m\u00f3dszereinek gyakorlat\u00e1t \u00edrja le, tal\u00e1n t\u00falzott r\u00e9szletess\u00e9ggel, hogy bemutassa a klasszikus archeol\u00f3gia \u00e9s a m\u00e9dia archeol\u00f3gia \u00e1tfed\u00e9seit.5<\/span> A k\u00f6tetet Parikka \u00edr\u00e1sa z\u00e1rja, aki t\u0151le megszokott m\u00f3don ism\u00e9t tov\u00e1bb t\u00e1g\u00edtja a m\u00e9dia archeol\u00f3gia elm\u00e9leti kereteit, ez\u00fattal a spekulat\u00edv design \u00e9s a k\u00e9pzeletbeli m\u00e9dia kutat\u00e1s<\/em> ir\u00e1ny\u00e1ba.<\/p>\n

A t\u00f6rt\u00e9nelem\u00edr\u00e1s \u00e9s az elm\u00e9letalkot\u00e1s lehets\u00e9ges terepek\u00e9nt, \u201elaborat\u00f3riumak\u00e9nt\u201d tekint a m\u00e9dia archeol\u00f3gi\u00e1ra Wanda Strauven.<\/span>6<\/span> Sean Cubitt anekdota<\/em> haszn\u00e1lat\u00e1ra \u00e9s Jacques Derrida (Claude L\u00e9vi-Strausst\u00f3l \u00e1tvett) bricolage<\/em> m\u00f3dszer\u00e9re hivatkozva, az \u00fajraj\u00e1tsz\u00e1s<\/em> gyakorlat\u00e1t javasolja a r\u00e9gi m\u00e9diumok \u00fajra \u00e9rz\u00e9kel\u00e9s\u00e9re\/\u00e1t\u00e9l\u00e9s\u00e9re, melynek eredm\u00e9nyek\u00e9nt m\u00e1r l\u00e9tez\u0151 fogalmakat saj\u00e1t\u00edtunk ki \u00e9s haszn\u00e1lunk fel m\u00e1s c\u00e9lra. M\u00f3dszertani javaslat\u00e1t k\u00e9t konkr\u00e9t p\u00e9ld\u00e1n illusztr\u00e1lja: egyikben a di\u00e1kok \u00e1ltal alig ismert eszk\u00f6zzel \u2013 vet\u00edt\u0151g\u00e9ppel \u2013 olyan di\u00e1kat vet\u00edtettek, melyek kereteibe az utc\u00e1n vagy otthon tal\u00e1lt apr\u00f3 dolgokat helyeztek. A t\u00f6bbl\u00e9pcs\u0151s k\u00eds\u00e9rlet \u00e9rt\u00e9kel\u00e9s\u00e9nek egyik leg\u00e9rdekesebb meg\u00e1llap\u00edt\u00e1sa az, hogy a r\u00e9sztvev\u0151k nem tudtak megszabadulni az elvonatkoztat\u00e1sokt\u00f3l \u00e9s az \u00e9rtelmez\u00e9si k\u00e9nyszert\u0151l \u00e9s ennek k\u00f6vetkezt\u00e9ben szinte vakoknak bizonyultak a m\u00e9dia archeol\u00f3gia \u00e9rt\u00e9krendszer\u00e9ben kiemelt szerepet \u00e9lvez\u0151 anyagszer\u0171s\u00e9gre: \u00f6nk\u00e9ntelen\u00fcl asszoci\u00e1lni kezdtek \u00e9s a val\u00f3di t\u00e1rgyak helyett olyasmit l\u00e1ttak bele a k\u00e9pekbe, amelyek nem voltak ott. M\u00e1sodik k\u00eds\u00e9rlet\u00e9ben az \u00e9rint\u0151k\u00e9perny\u0151vel feln\u0151tt gener\u00e1ci\u00f3 tagjait szembes\u00edtette taktilis \u00e9rz\u00e9kel\u00e9s\u00fck korl\u00e1taival.<\/p>\n

Andreas Fickers<\/span> \u00e9s Annie van den Oever<\/span> hasonl\u00f3an k\u00eds\u00e9rletek sorozat\u00e1ra \u00e9p\u00edtik \u00edr\u00e1sukat:7<\/span> kimondott c\u00e9ljuk, hogy a m\u00e9dia technol\u00f3gi\u00e1khoz \u00e9rz\u00e9kibb m\u00f3don k\u00f6zel\u00edts\u00fcnk, figyelm\u00fcnket a t\u00f6rt\u00e9neti t\u00e1rgyak anyagi volt\u00e1ra ir\u00e1ny\u00edtsuk. \u00dajraj\u00e1tsz\u00f3 felhaszn\u00e1l\u00e1s r\u00e9v\u00e9n a m\u00falt \u00e9rz\u00e9kel\u00e9se<\/em> (eredeti kiemel\u00e9s) a c\u00e9l. Fickers \u00e9s Oever nyolc k\u00fcl\u00f6nb\u00f6z\u0151 felhaszn\u00e1l\u00f3i t\u00edpust k\u00fcl\u00f6nb\u00f6ztet meg: elk\u00e9pzelt, konfigur\u00e1lt, szak\u00e9rt\u0151, amat\u0151r, visszaeml\u00e9kez\u0151, \u00fajraj\u00e1tsz\u00f3, mesters\u00e9ges (m\u0171v\u00e9szi) \u00e9s szimul\u00e1lt. M\u00edg a technol\u00f3giat\u00f6rt\u00e9netben jellemz\u0151en a szak\u00e9rt\u0151, az elk\u00e9pzelt \u00e9s konfigur\u00e1lt haszn\u00e1l\u00f3kon van a hangs\u00faly, a tanulm\u00e1ny els\u0151sorban az amat\u0151r \u00e9s az \u00fajraj\u00e1tsz\u00f3 t\u00edpus\u00fa felhaszn\u00e1l\u00f3k tapasztalataira \u00f6sszpontos\u00edtja a figyelmet, mondv\u00e1n, hogy m\u00edg az el\u0151bbi eset\u00e9ben szinte kiz\u00e1r\u00f3lag csak a szab\u00e1lyos felhaszn\u00e1l\u00e1s korl\u00e1tjain bel\u00fcli k\u00e9pi \u00e9s verb\u00e1lis forr\u00e1sok \u00e1llnak rendelkez\u00e9sre, addig az amat\u0151r\u00f6k azok, akik gyakran alkotnak kiterjedt \u00e9s akt\u00edv k\u00f6z\u00f6ss\u00e9geket: a technol\u00f3gia ir\u00e1nti elk\u00f6telezetts\u00e9g\u00fck jegy\u00e9ben el\u0151szeretettel osztj\u00e1k meg tapasztalataikat \u2013 bele\u00e9rtve a kudarcokat \u00e9s a helyes haszn\u00e1latt\u00f3l val\u00f3 elt\u00e9r\u00e9seket \u2013 az \u00e1ltaluk l\u00e9trehozott platformokon.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” top_margin=”0″ bottom_margin=”0″ background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

4<\/p>\n

\u00d6nk\u00e9ntesek \u00e1ltal m\u0171k\u00f6dtetett, filmmel \u00e9s m\u0171v\u00e9szettel foglalkoz\u00f3 int\u00e9zm\u00e9ny, ld https:\/\/cubecinema.com<\/a><\/p>\n

5<\/p>\n

8. The Cube: A Cinema Archaeology, 177\u2013204.<\/p>\n

6<\/p>\n

1. Media Archaeology as Laboratory for History Writing and Theory Making, 23-43.<\/p>\n

7<\/p>\n

2. Doing Experimental Media Archaeology. Epistemological and Methodological Reflections on Experiments with Historical Objects of Media Technologies, 46\u201368.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”0″ bottom_padding=”0″ text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Fickers \u00e9s Oever nem autentikus t\u00f6rt\u00e9neti tapasztal\u00e1sokat akarnak rekonstru\u00e1lni k\u00eds\u00e9rleteik nyom\u00e1n, hanem arra k\u00edv\u00e1ncsiak, hogy a g\u00e9peknek milyen alkalmaz\u00e1sai lehets\u00e9gesek a kreat\u00edv szab\u00e1lytalan haszn\u00e1lat r\u00e9v\u00e9n. A technikai t\u00e1rgyak performat\u00edv dimenzi\u00f3ja, a tapint\u00e1sra \u00e9s m\u00e1s \u00e9rz\u00e9kszervekre hat\u00f3 benyom\u00e1sok (pl. r\u00e9gi filmvet\u00edt\u0151k m\u0171k\u00f6d\u00e9s\u00e9vel j\u00e1r\u00f3 hangok \u00e9s illatok), valamint a haszn\u00e1l\u00f3 \u00e9s t\u00e1rgy, illetve t\u00f6bb haszn\u00e1l\u00f3 k\u00f6z\u00f6tti helyzetdinamik\u00e1k \u00e9rdeklik. Heurisztikusnak<\/span> c\u00edmk\u00e9zett \u00fajraj\u00e1tsz\u00e1saiknak fontos elemei az id\u0151- \u00e9s t\u00e9rbeli dimenzi\u00f3 ir\u00e1nti \u00e9rz\u00e9kenys\u00e9g, melyet mind a l\u00e9trehoz\u00e1s, mind a fogyaszt\u00e1s sor\u00e1n fontosnak tartanak.<\/p>\n

Alison Gazzard<\/span> a vide\u00f3j\u00e1t\u00e9k ter\u00fclet\u00e9r\u0151l hozott p\u00e9ld\u00e1kra alapozza meg\u00e1llap\u00edt\u00e1sait.8<\/span> A nyolcvanas \u00e9vekb\u0151l sz\u00e1rmaz\u00f3 j\u00e1t\u00e9kok eset\u00e9ben az \u00fajm\u00e9dia archiv\u00e1l\u00e1sban \u00e9s ki\u00e1ll\u00edt\u00e1sban gyakran alkalmazott emul\u00e1ci\u00f3<\/em>9<\/span> m\u00f3dszer\u00e9hez korabeli \u00fajs\u00e1gokban tal\u00e1lhat\u00f3 forr\u00e1sokat (list\u00e1z\u00e1sokat) rendel. Ezek a list\u00e1z\u00e1sok olyan dokument\u00e1ci\u00f3kat, p\u00e9ld\u00e1ul forr\u00e1sk\u00f3dokat tartalmaznak, amelyek a szoftver term\u00e9kb\u0151l nem felt\u00e9tlen\u00fcl visszak\u00f6vetkeztethet\u0151ek, \u00edgy nagyban el\u0151seg\u00edti az emul\u00e1ci\u00f3ra alapozott bemutat\u00e1st. K\u00f6vetend\u0151 mintak\u00e9nt \u00e1ll\u00edt be egy New York \u00e1llambeli j\u00e1t\u00e9km\u00fazeumot, a rochesteri Strong M\u00fazeumot,10<\/span> ahol a ki\u00e1ll\u00edt\u00e1si m\u00f3d a \u201em\u0171t\u00e1rgy-interpret\u00e1ci\u00f3-interaktivit\u00e1s\u201d h\u00e1rmass\u00e1gon alapul.<\/p>\n

A k\u00f6tet els\u0151 r\u00e9sz\u00e9nek utols\u00f3 \u00edr\u00e1sa hangs\u00falyosan elm\u00e9leti szempont\u00fa \u00e9s m\u00e1r nem konkr\u00e9t k\u00eds\u00e9rletekre \u00e9p\u00fcl: j\u00f3 \u00e1tvezet\u0151 a k\u00f6vetkez\u0151, M\u00e9dia archeol\u00f3gia elm\u00e9let<\/em> c\u00edm\u0171 r\u00e9szbe. Mark Goodall A m\u00e9dia archeol\u00f3gia szelleme<\/em> c\u00edm\u0171 tanulm\u00e1ny\u00e1ban Derrida hauntol\u00f3gia<\/em> gondolat\u00e1t (Marx k\u00eds\u00e9rtetei,<\/em> 1993)11<\/span> haszn\u00e1lja fel a m\u00e9dia technol\u00f3gi\u00e1k \u00e9rtelmez\u00e9s\u00e9hez. Ennek \u00e9rtelm\u00e9ben Derrida m\u00e1r nem\/m\u00e9g nem \u00e9s a m\u00e9g nem t\u00f6rt\u00e9nt meg<\/em> \u00e1llapotokat alkalmazza a k\u00fcl\u00f6nf\u00e9le technol\u00f3gi\u00e1k \u00e9rtelmez\u00e9s\u00e9re. A m\u00e1r nem<\/em> a t\u00e1rgyak eredeti haszn\u00e1lat\u00e1t vagy olyan t\u00e1rgyakat jel\u00f6lnek, melyek m\u00e1r nincsenek meg eredeti \u00e1llapotukban, m\u00edg a m\u00e9g nem t\u00f6rt\u00e9nt meg<\/em> ezeknek a technol\u00f3gi\u00e1knak az \u00faj \u00e9lettel val\u00f3 megt\u00f6lt\u00e9s\u00e9t jelentheti. A m\u00e9dia \u00e9s az okkult jelens\u00e9gek kapcsolat\u00e1ra pedig \u2013 \u00edrja Goodall \u2013, Geoffrey Winthrop-Young<\/span> \u00e9s Michael Wutz<\/span> is felh\u00edvta a figyelmet: szerint\u00fck a m\u00e9dium gondolata (mint ahogyan maga a sz\u00f3 is) mindig is mag\u00e1ban hordozta a spiritualizmus megid\u00e9z\u00e9s\u00e9t.12<\/span><\/p>\n

A m\u00e1sodik r\u00e9sz kezd\u0151 tanulm\u00e1ny\u00e1ban Thomas Elsaesser<\/span>13<\/span> a filmt\u00f6rt\u00e9neti feldolgoz\u00e1soknak azt a sz\u00e1z \u00e9ve uralkod\u00f3 megk\u00f6zel\u00edt\u00e9sm\u00f3dj\u00e1t k\u00e9rd\u0151jelezi meg, miszerint a film alapj\u00e1ban a f\u00e9nyk\u00e9pez\u00e9s tov\u00e1bbfejleszt\u00e9se, mely egyr\u00e9szt a l\u00e1t\u00e1si perzisztencia<\/em>14<\/span> felismer\u00e9s\u00e9re, m\u00e1sr\u00e9szt a vet\u00edtett k\u00e9p el\u0151t\u00f6rt\u00e9net\u00e9re \u00e9p\u00fcl. Ennek \u00e9rtelm\u00e9ben a filmre vet\u00edtett k\u00e9pk\u00e9nt vagy lenyomatk\u00e9nt tekint\u00fcnk. Ehelyett \u2013 Elsaesser<\/span> szerint \u2013 \u00fajra kell gondolni a filmt\u00f6rt\u00e9net archeol\u00f3gi\u00e1j\u00e1t olyan fogalmak ment\u00e9n, mint p\u00e9ld\u00e1ul a mozg\u00e1s, az energia, a hat\u00f3er\u0151k \u00e9s az automatizmus. Az \u00e1t\u00edr\u00e1s jogosults\u00e1ga mellett sz\u00f3l a mozg\u00f3k\u00e9p huszadik sz\u00e1zad sor\u00e1n megfigyelhet\u0151 \u00e1talakul\u00e1sa mellett (tv, sz\u00e1m\u00edt\u00f3g\u00e9p, LED kijelz\u0151k) az is, hogy a kor\u00e1bbi \u00e9rtelmez\u00e9sekben sz\u00e1mos olyan t\u00e9nyez\u0151t figyelmen k\u00edv\u00fcl hagytak, amely gyeng\u00edtette volna a filmt\u00f6rt\u00e9net vet\u00edt\u00e9s-f\u00e9nyk\u00e9p-l\u00e1t\u00e1si perzisztencia<\/em> h\u00e1rmass\u00e1gban15<\/span> gy\u00f6kerez\u0151 vonal\u00e1t. A szerz\u0151 megk\u00fcl\u00f6nb\u00f6zteti a mozg\u00f3k\u00e9p t\u00f6rt\u00e9net kezdet\u00e9nek k\u00e9t meghat\u00e1roz\u00f3 alakj\u00e1nak \u2013 \u00c9tienne-Jules Marey<\/span> \u00e9s Eadweard Muybridge<\/span> \u2013 mozg\u00e1sf\u00e9nyk\u00e9pez\u00e9si m\u00f3dj\u00e1t: m\u00edg Marey az eur\u00f3pai, csoportos\u00edt\u00f3 hagyom\u00e1nyt folytatta \u00e9s alapvet\u0151en a mozg\u00e1s \u00e9s az id\u0151 lenyomatait k\u00edv\u00e1nta megjelen\u00edteni, addig Muybridge a taylorizmushoz vezet\u0151 amerikai vonalat teremtette meg, melynek els\u0151dleges c\u00e9lja az emberi \u00e9s a g\u00e9pi energi\u00e1k maximaliz\u00e1l\u00e1sa \u00e9s szinkroniz\u00e1l\u00e1sa volt. Ennek \u00e9rtelm\u00e9ben, \u2013 \u00edrja Elsaesser<\/span> \u2013 Marey megmaradt a f\u00e9nyk\u00e9p eredeti c\u00e9lkit\u0171z\u00e9s\u00e9n\u00e9l, m\u00edg a Muybridge-f\u00e9le vonal, vagyis a kinetikus energia megjelen\u00edt\u00e9se a mai napig meghat\u00e1roz\u00f3 elv\u00e1r\u00e1s a mozit\u00f3l. \u00d6t energia-t\u00edpust k\u00fcl\u00f6nb\u00f6ztet meg \u00e9s r\u00e9szletez hosszasan, p\u00e9ld\u00e1kon kereszt\u00fcl: 1. agit\u00e1ci\u00f3 (l\u00e1thatatlan er\u0151k megnyilv\u00e1nul\u00e1sa), 2. anim\u00e1ci\u00f3 (az alkot\u00f3 szakaszokra bontott jelenetekkel anim\u00e1l, vagyis \u201e\u00e9letet ad\u201d a dolgoknak), 3. dolgok hat\u00f3ereje (mechanikai \u00e9s pszichol\u00f3giai energi\u00e1k egy\u00fcttese), 4. automatiz\u00e1l\u00e1s (energia \u00e1tad\u00e1s ember-g\u00e9p-metropolisz mont\u00e1zsokban), \u00e9s 5. figyelem vagy v\u00e1r\u00e1s, mint tev\u00e9kenys\u00e9g (a voyeurizmust\u00f3l a korunkra jellemz\u0151 megfigyel\u00e9sekig). Tanulm\u00e1ny\u00e1nak v\u00e9g\u00e9n hangs\u00falyozza: a film t\u00f6rt\u00e9nete nem v\u00e1laszthat\u00f3 el az urbaniz\u00e1ci\u00f3t\u00f3l, a villamos\u00edt\u00e1st\u00f3l \u00e9s munka \u00e1tszervez\u00e9s\u00e9t\u0151l, melynek egyik fontos mell\u00e9kk\u00f6vetkezm\u00e9nyek\u00e9nt, a szabadid\u0151ben t\u00f6rt\u00e9n\u0151 a moziba j\u00e1r\u00e1s egy fegyelmezett \u00e9s t\u00e1rsadalmilag elfogadott sz\u00f3rakoz\u00e1ss\u00e1 v\u00e1lt.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” top_margin=”0″ bottom_margin=”0″ background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

8<\/p>\n

4. (game)(code) re-playing program listings from 1980s British computer magazines, 83\u2013103.<\/p>\n

9<\/p>\n

Egy adott m\u0171k\u00f6d\u00e9si k\u00f6rnyezetet m\u00e1s k\u00f6r\u00fclm\u00e9nyek k\u00f6z\u00f6tt ut\u00e1nz\u00f3 technol\u00f3gia.<\/p>\n

10<\/p>\n

https:\/\/www.museumofplay.org<\/a><\/p>\n

11<\/p>\n

Jacques Derrida:<\/span> Marx k\u00eds\u00e9rtetei.<\/em> Ford. Boros J\u00e1nos, Csord\u00e1s G\u00e1bor, Orb\u00e1n Jol\u00e1n,<\/span> Jelenkor, P\u00e9cs, 1995.<\/p>\n

12<\/p>\n

Id\u00e9zi Goodall:<\/span> Geoffrey Winthrop-Young and Michael Wutz, \u2018Introduction\u2019 in Kittler, F.A.: Gramophone, Film, Typewriter. Stanford, CA: Stanford University Press, 1999. xii.<\/p>\n

13<\/p>\n

5. Cinema, Motion, Energy, and Entropy, 107\u2013234.<\/p>\n

14<\/p>\n

A l\u00e1t\u00e1si perzisztencia arra a fiziol\u00f3giai jelens\u00e9gre vonatkozik, hogy a f\u00e9ny\u00e9rzet a f\u00e9nyinger megsz\u0171nte ut\u00e1n m\u00e9g r\u00f6vid ideig megmarad. Ennek k\u00f6sz\u00f6nhet\u0151, hogy a r\u00f6vid id\u0151k\u00f6zben egym\u00e1st k\u00f6vet\u0151 k\u00e9pek folyamatos k\u00e9p benyom\u00e1s\u00e1t keltik, ezt a jelens\u00e9get hasznos\u00edtja a\u00a0mozg\u00f3k\u00e9p.<\/p>\n

15<\/p>\n

A vet\u00edt\u00e9s-f\u00e9nyk\u00e9p-l\u00e1t\u00e1si perzisztencia<\/em> h\u00e1rmass\u00e1g a l\u00e1t\u00e1si perzisztencia mellett bevonja a mozg\u00f3k\u00e9p lesz\u00e1rmaz\u00e1s-t\u00f6rt\u00e9netbe azokat a v\u00e9lt el\u0151zm\u00e9nyeit is, amelyek a vet\u00edt\u00e9sre (\u00e1rnyk\u00e9pek, lanterna magica-jelleg\u0171 eszk\u00f6z\u00f6k), illetve a f\u00e9nyk\u00e9p-eredetre teszik a hangs\u00falyt.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”0″ bottom_padding=”0″ text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Peter Buse<\/span> Walter Benjamin p\u00e1rizsi passz\u00e1zsokr\u00f3l \u00edrt fejteget\u00e9seire16<\/span> hivatkozva a nemr\u00e9g felfedezett chicag\u00f3i utcai f\u00e9nyk\u00e9p\u00e9sz, Vivian Maier<\/span> \u00e9letm\u0171v\u00e9re reflekt\u00e1l.17<\/span> Maier f\u00e9nyk\u00e9peinek nagy r\u00e9sz\u00e9t csak hal\u00e1la el\u0151tt p\u00e1r \u00e9vvel, 2007-ben ismerhette meg a vil\u00e1g, amikor a rakt\u00e1roz\u00f3 c\u00e9g \u00e1ltal \u2013 az elmaradt havi d\u00edjak miatt \u2013 aukci\u00f3ra bocs\u00e1tott, javar\u00e9szt el\u0151h\u00edvatlan negat\u00edvokat John Maloof<\/span> t\u00f6rt\u00e9n\u00e9sz megv\u00e1s\u00e1rolta. Maier ing\u00f3s\u00e1gainak z\u00f6me nem v\u00e9letlen\u00fcl volt rakt\u00e1rban: a hivat\u00e1sos gyerekgondoz\u00f3 \u00e9s amat\u0151r f\u00e9nyk\u00e9p\u00e9sz ugyanis szenved\u00e9lyes gy\u0171jt\u0151 volt. Tov\u00e1bbi \u00e9rtelmez\u00e9si r\u00e9teget k\u00edn\u00e1l, hogy Maier gyakran j\u00e1rt bolhapiacokra, ahol m\u00e1s szenved\u00e9lyes gy\u0171jt\u00f6get\u0151ket is f\u00e9nyk\u00e9pezett. Ebben a kontextusban Buse a m\u00e9dia archeol\u00f3gus \u2013 Erkki Huhtamo, Siegfried Zielinski<\/span> \u00e9s m\u00e1sok p\u00e9ld\u00e1in kereszt\u00fcl \u2013 mint gy\u0171jt\u0151 t\u00edpust elemzi Maier-t. A tanulm\u00e1nyban k\u00f6zponti k\u00e9rd\u00e9s, hogy egy t\u00e1rgy kiemel\u00e9se eredeti kontextus\u00e1b\u00f3l \u00e9s gy\u0171jtem\u00e9nybe helyez\u00e9se milyen \u00e9rt\u00e9kveszt\u00e9shez vagy \u00e9rt\u00e9kn\u00f6vel\u00e9shez vezethet. M\u00edg Benjamin felfog\u00e1s\u00e1ban \u2013 \u00edrja Buse \u2013 a t\u00e1rgyat megfosztja gy\u0171jt\u0151je a haszn\u00e1lat-\u00e9rt\u00e9k\u00e9t\u0151l, addig az \u00fajt\u00edpus\u00fa m\u00e9dia archeol\u00f3gus ism\u00e9t, kifejezetten haszn\u00e1lati t\u00e1rgyakk\u00e9nt kezeli az elavult eszk\u00f6z\u00f6ket. Maier felv\u00e9teleire r\u00e1t\u00e9rve meg\u00e1llap\u00edtja, hogy a m\u00e9dia archeol\u00f3gus szerepe abban is megnyilv\u00e1nul, hogy a f\u00e9nyk\u00e9p\u00e9sz \u00e1ltal haszn\u00e1lt kamera (Rolleiflex) m\u0171k\u00f6d\u00e9s\u00e9nek ismerete (a keres\u0151be fel\u00fclr\u0151l kell n\u00e9zni) elengedhetetlen a kompoz\u00edci\u00f3k \u00e9rtelmez\u00e9s\u00e9hez. Buse-hoz hasonl\u00f3an Ben Robert is hivatkozik Benjamin p\u00e1rizsi passz\u00e1zsokr\u00f3l \u00edrt tanulm\u00e1nyaira, b\u00e1r \u0151 nem egy case studyra alapozza elemz\u00e9s\u00e9t a technikai determinizmus \u00e9s a technikai t\u00f6rt\u00e9net nem-line\u00e1ris felfog\u00e1s\u00e1nak \u00f6sszevet\u00e9s\u00e9ben.18<\/span> Benjamin mellett (t\u00f6bbek k\u00f6z\u00f6tt) Wolfgang Ernst<\/span> \u00e9s Bernard Stiegler<\/span> \u00edr\u00e1saira hagyatkozik, amikor a technol\u00f3gia kritikai elm\u00e9let\u00e9t t\u00e1rgyalja, \u00e9s ezen az ember \u201ek\u00f6zbenj\u00e1r\u00e1s\u00e1nak\u201d elismer\u00e9s\u00e9t \u00e9s a technol\u00f3gia semlegess\u00e9g\u00e9nek elutas\u00edt\u00e1s\u00e1t \u00e9rti.<\/p>\n

Az utols\u00f3 tanulm\u00e1ny, a k\u00f6tetben olvashat\u00f3 \u00edr\u00e1sok r\u00e9v\u00e9n gyakorlati \u00e9s elm\u00e9leti szinten j\u00f3l megismert m\u00f3dszer hat\u00e1rait t\u00e1g\u00edtja tov\u00e1bb.19<\/span> Parikka<\/span> a k\u00e9pzeletbeli m\u00e9dia kutat\u00e1st \u00e9s a spekulat\u00edv designt \u00e1ll\u00edtja p\u00e1rbesz\u00e9dbe, mondv\u00e1n, hogy a sz\u00e9pm\u0171v\u00e9szetekkel ellent\u00e9tben, a design ter\u00fclet\u00e9t m\u00e9g nem hatotta \u00e1t kell\u0151 m\u00e9rt\u00e9kben a m\u00e9dia archeol\u00f3gia, m\u00e1rpedig a spekulat\u00edv design is ugyan\u00fagy hajlamos a vil\u00e1g alternat\u00edv m\u00falt, jelen \u00e9s a j\u00f6v\u0151k\u00e9p\u00e9nek megalkot\u00e1s\u00e1ra. A diskurzus tov\u00e1bbi b\u0151v\u00edt\u00e9s\u00e9hez megid\u00e9zi a tudom\u00e1nyos fantasztikumot, annak \u201ek\u00f6lt\u0151i energi\u00e1i\u201d r\u00e9v\u00e9n. Az anyagszer\u0171s\u00e9g hangs\u00falyoz\u00e1s\u00e1t, mely v\u00e9gig visszat\u00e9r\u0151 elem a k\u00f6tetben, Parikka kieg\u00e9sz\u00edti annak a m\u00e9retre \u00e9s az ideigleness\u00e9g\u00e9re val\u00f3 hat\u00e1s\u00e1val. Szint\u00e9n a tudom\u00e1ny\u00e1g hat\u00f3k\u00f6r\u00e9nek kisz\u00e9les\u00edt\u00e9s\u00e9re ir\u00e1nyul, hogy Zoe Beloff<\/span> \u00e9s Aura Satz<\/span> m\u0171veinek elemz\u00e9s\u00e9vel a m\u00e9dia archeol\u00f3gia gender<\/em> perspekt\u00edv\u00e1j\u00e1ra is felh\u00edvja a figyelmet. V\u00e9g\u00fcl azon meg\u00e1llap\u00edt\u00e1sa, miszerint egyre gyakrabbak azok a m\u0171v\u00e9szeti projektek, melyek \u201eolyan t\u00e1rgyakat terveznek, amelyek lehettek volna\u201d (eredeti kiemel\u00e9s) Waliczky Tam\u00e1s<\/span> K\u00e9pzelt kamer\u00e1k<\/em>20<\/span> sorozat\u00e1t is esz\u00fcnkbe juttathatja.<\/p>\n

A k\u00f6tet r\u00e9v\u00e9n a m\u00e9dia archeol\u00f3giai megk\u00f6zel\u00edt\u00e9s kiemelked\u0151 k\u00e9pvisel\u0151inek \u2013 m\u00e1r sz\u00e1mos kor\u00e1bbi alkalommal is egy\u00fctt dolgoz\u00f3 \u2013, egyetemi oktat\u00f3knak \u00e9s m\u0171v\u00e9szeti int\u00e9zm\u00e9nyi munkat\u00e1rsaknak a gyakorlati \u00e9s kutat\u00f3i munk\u00e1iba kapunk betekint\u00e9st. Az elm\u00falt \u00e9vekben t\u00f6bb ilyen jelleg\u0171 elemz\u00e9s is megjelent 19. sz\u00e1zadi technol\u00f3gi\u00e1kr\u00f3l, s k\u00f6z\u00fcl\u00fck is kiemelkedik a Nicoletta Leonardi<\/span> \u00e9s Simone Natale<\/span> szerkesztette Photography and Other Media in the Nineteenth Century<\/em> (Penn State University Press, 2018). A jelen k\u00f6tet azonban hangs\u00falyosan a 20. sz\u00e1zad utols\u00f3 harmad\u00e1nak \u00e9s jelen sz\u00e1zadunk m\u00e9diumai ir\u00e1nt \u00e9rdekl\u0151d\u0151knek sz\u00f3l. A m\u00e9dia archeol\u00f3gi\u00e1t \u00e9r\u0151 \u00e9s Parikka \u00e1ltal fut\u00f3lag eml\u00edtett kritika, miszerint e tudom\u00e1ny\u00e1g t\u00fals\u00e1gosan technol\u00f3gia-k\u00f6zpont\u00fa,21<\/span> azonban a k\u00f6tetben tal\u00e1lhat\u00f3 \u00edr\u00e1sok t\u00f6bbs\u00e9g\u00e9re is igaznak mondhat\u00f3.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” top_margin=”0″ bottom_margin=”0″ background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

16<\/p>\n

Walter Benjamin:<\/span> Le Livre des passages<\/em> [Das Passagen-Werk], P\u00e1rizs, \u00c9ditions du Cerf, 1989. Jean Lacoste francia ford\u00edt\u00e1sa alapj\u00e1n. (A m\u0171b\u0151l csak r\u00e9szletek jelentek meg magyarul, Szab\u00f3 Csaba ford\u00edt\u00e1s\u00e1ban: \u201eA szir\u00e9nek hallgat\u00e1sa\u201d. V\u00e1logatott \u00edr\u00e1sok,<\/em> Budapest, Osiris Kiad\u00f3, 2001, 201\u2013249.<\/p>\n

17<\/p>\n

5. Collector, Hoarder, Media Archaeologist. Walter Benjamin with Vivian Maier, 135\u2013154.<\/p>\n

18<\/p>\n

7. Media Archaeology and Critical Theory of Technology, 155\u2013174.<\/p>\n

19<\/p>\n

9. Inventing Pasts and Futures. Speculative Design and Media Archaeology, 205\u2013232.<\/p>\n

20<\/p>\n

\u201eEzek olyan kamer\u00e1k, amelyek nem sz\u00fcletettek meg, de megsz\u00fclethettek volna, ha a fotogr\u00e1fia fejleszt\u00e9se m\u00e1s ir\u00e1nyt vesz.\u201d Kamer\u00e1k \u00e9s m\u00e1s optikai eszk\u00f6z\u00f6k. Waliczky Tam\u00e1ssal besz\u00e9lget Szepesi Anna. In: K\u00e9pzelt kamer\u00e1k,<\/em> szerk.: Boros G\u00e9za, Szegedy-Masz\u00e1k Zsuzsanna,<\/span> Ludwig M\u00fazeum \u2013 Kort\u00e1rs M\u0171v\u00e9szeti M\u00fazeum, Budapest, 2019, 42.<\/p>\n

21<\/p>\n

Parikka,<\/span> Inventing Pasts and Futures. Speculative Design and Media Archaeology, 220.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”0″ bottom_padding=”0″ text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_gallery type=”flickity_static_height_style” images=”25494,25493,25492″ flickity_spacing=”default” flickity_controls=”pagination” flickity_overflow=”hidden” flickity_wrap_around=”wrap” flickity_box_shadow=”none” image_loading=”default” onclick=”link_image” img_size=”full”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”0″ bottom_padding=”0″ text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text css=”.vc_custom_1604163287133{margin-top: -25px !important;}”]\n

Waliczky Tam\u00e1s: Swivel-kamera,<\/em> 2017\/2018, sz\u00e1m\u00edt\u00f3g\u00e9pes grafika, lightbox, 100\u00d7100 cm; A m\u0171v\u00e9sz \u00e9s a Moln\u00e1r Ani Gal\u00e9ria j\u00f3volt\u00e1b\u00f3l; 1\/3
\nWaliczky Tam\u00e1s: Ortografikus kamera,<\/em> 2017, sz\u00e1m\u00edt\u00f3g\u00e9pes grafika, lightbox, 100\u00d7150 cm; A m\u0171v\u00e9sz \u00e9s a Moln\u00e1r Ani Gal\u00e9ria j\u00f3volt\u00e1b\u00f3l; 2\/3
\nWaliczky Tam\u00e1s: Flipbook Camera Lucida,<\/em> 2018, sz\u00e1m\u00edt\u00f3g\u00e9pes grafika, lightbox, 100\u00d7100 cm; A m\u0171v\u00e9sz \u00e9s a Moln\u00e1r Ani Gal\u00e9ria j\u00f3volt\u00e1b\u00f3l; 3\/3[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”0″ bottom_padding=”0″ text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” class=”p-2-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]A k\u00f6tet r\u00e9v\u00e9n a m\u00e9dia archeol\u00f3giai megk\u00f6zel\u00edt\u00e9s kiemelked\u0151 k\u00e9pvisel\u0151inek \u2013 m\u00e1r sz\u00e1mos kor\u00e1bbi alkalommal is egy\u00fctt dolgoz\u00f3 \u2013, egyetemi oktat\u00f3knak \u00e9s m\u0171v\u00e9szeti int\u00e9zm\u00e9nyi munkat\u00e1rsaknak a gyakorlati \u00e9s kutat\u00f3i munk\u00e1iba kapunk betekint\u00e9st. Az elm\u00falt \u00e9vekben t\u00f6bb ilyen jelleg\u0171 elemz\u00e9s is megjelent 19. sz\u00e1zadi technol\u00f3gi\u00e1kr\u00f3l, s k\u00f6z\u00fcl\u00fck is kiemelkedik a Nicoletta Leonardi<\/span> \u00e9s Simone Natale<\/span> szerkesztette Photography and Other Media in the Nineteenth Century<\/em> (Penn State University Press, 2018). A jelen k\u00f6tet azonban hangs\u00falyosan a 20. sz\u00e1zad utols\u00f3 harmad\u00e1nak \u00e9s jelen sz\u00e1zadunk m\u00e9diumai ir\u00e1nt \u00e9rdekl\u0151d\u0151knek sz\u00f3l. A m\u00e9dia archeol\u00f3gi\u00e1t \u00e9r\u0151 \u00e9s Parikka \u00e1ltal fut\u00f3lag eml\u00edtett kritika, miszerint e tudom\u00e1ny\u00e1g t\u00fals\u00e1gosan technol\u00f3gia-k\u00f6zpont\u00fa,21<\/span> azonban a k\u00f6tetben tal\u00e1lhat\u00f3 \u00edr\u00e1sok t\u00f6bbs\u00e9g\u00e9re is igaznak mondhat\u00f3.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” top_margin=”0″ bottom_margin=”0″ background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” el_class=”p-2-1″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”]

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