Abstract

How might experimental media art help theorise what falls by the wayside in the digital public sphere? Working in the years immediately following the launch of YouTube in 2005, some media artists centred their creative praxis towards the end of that decade upon rescuing, revalorising, and placing back into digital circulation audiovisual media formats and technologies that appeared aged or obsolete. Although there may be a degree of nostalgia behind such practices, these artworks articulate a cogent critique of the drive towards constant innovation that was responsible for the invention and global expansion of cinema, but in recent decades has been responsible for its decay—or, perhaps more accurately, for its perpetual transformation. The article explores this 'media-archaeology' sensibility as a way of thinking about AI more widely: an approach that sees histories of media not as a linear, chronological search for origins, but as a critical recovery of artefacts lodged discontinuously in multiple layers of the past. Although digital technologies form a central part of the creative process of the artists considered in this article, their works also act as a critical conscience about digital change, asking what the so-called digital revolution is leaving out, and leaving behind. In so doing, it illuminates some potential positive and negative impacts of digital technologies' mediation of new forms of public engagement, whether in art, archives, or on social media.