Thanks to the generosity of Stefan Höltgen, I recently had the pleasure of touring two important media archaeology labs: the Media Archaeological Fundus, founded by Wolfgang Ernst, and the Signal Lab, founded and directed by Stefan. I was especially keen to tour these labs partly because I consider them sibling labs to my own Media Archaeology Lab and partly because they’re examples of anti-humanistic humanities labs which, unlike the MIT Media Lab, have a distinctly critical relationship to both the military industrial complex and the corporatization of the university. Below I’ve reblogged a post I wrote for loriemerson.net, briefly discussing the MAL’s relationship to the MAF and the Signal Lab and sharing extensive photos from both labs.
For years now, I’ve been yearning to go to Berlin to visit two labs that have the closest kinship to my own Media Archaeology Lab: the Signal Lab, run by Stefan Höltgen, and the Media Archaeological Fundus, founded by Wolfgang Ernst and now also run by Stefan. I finally got my chance to tour both labs in early February of this year and the experience was deeply gratifying.
While I’ve had some email correspondence with both Stefan and Wolfgang over the years about our labs, I didn’t realize how closely aligned our labs were until this visit. All three labs, including the MAL, are driven not by a nostalgic impulse or a desire to act as mini museums. Instead, we have all appropriated the science-based infrastructure of the lab for (anti) humanistic ends as we perform hands-on experiments with functioning media from the 19th and 20th centuries as a way to discover what Ernst has called the “time criticality” of each device.
There are, however, a few key differences between our labs – first, the MAL does have some preservationist responsibilities that the Signal Lab and the Fundus do not have; for example, we have hardware and software that has been donated to us by individuals hoping we will care for, maintain, and preserve their donations for as long as possible; we also have conventionally valuable hardware such as the machines that ran The Thing BBS and valuable digital literature and art from the 1980s such as Paul Zelevansky’s “SWALLOWS” and bpNichol’s “First Screening.” These preservationalist responsibilities mean the MAL has a more expansive, complex, and perhaps even conflicted mission as its belief in making the lab a space of hands-on experimentation and inquiry is bound to eventually conflict with our responsibility to protect certain particularly valuable holdings. By contrast, Stefan writes me in an email that “Indeed there are no such responsibilities for both of our collections. Vice versa we have a ‘hands-on imperative’ which is the opposite of materialistic preservation for the idea of preserving the knowledge within the apparatuses (that therefor often have to be damaged). We say that to all of our donators so they can decide if they want donate their stuff.”
The other major difference is in how we’ve structured our labs. Perhaps precisely because of the slight difference in our mission, the MAL’s holdings are mostly displayed on desks lining the walls; each machine has its own desk and its own chair. The benefit to such an arrangement is it facilitates immediate and extended access – visitors often feel comfortable immediately sitting down, turning on the machines, and inserting a floppy disk or a cartridge sitting nearby. The drawback to this arrangement is partly that we’ve found ourselves very limited in the number of machines we can display and partly that there is still something auratic about this method of display – if the machines aren’t on when visitors arrive or without a tour guide on hand to continually remind visitors to play, tinker, hack, the pernicious assumption is that the MAL is a museum and one may only view the media on display as if they’re valuable works of art.
By contrast, both the Signal Lab and the Fundus structure their space by having machines stacked on shelves around the perimeter of the room with empty tables situated in the middle of the room such that visitors can remove machines from the shelves and use the tables for hands-on experiments. This is, I think, a small but fundamental difference in our labs as the infrastructure of these two Berlin labs is such that there is a firmer, even unapologetic rejection of the aura of the museum and an emphasis on serious research. As Stefan wrote to me in the same email: “Yes, it’s a question of space and the numbers of items stored in the collections. But the ‘Fundus’ also wants to be a fund (like that in theaters) where the students and researchers take items from the shelf to use in their projects. The fundus itself is not an exhibition. The Signal Lab has some workstation desks but most of the computers are stored in shelfs. The benefit is that the users have to build the systems with its peripherals for themselfs to use them (which – I think – is a form of technological praxis that has to be ‘preserved’ as well).”
Below are pictures I took on my cell phone of both labs – I hope you enjoy the virtual tour. And, finally, I would like to thank Stefan one more time for giving us such a wonderful tour of both labs.