Infinity Room 2 reveals elements of the rich history manifest in the school’s various archives, records and assemblages, through eight installations: Open Science, Archive of Modern Construction, Alain Herzog Archive, Campus Chronicles, Archival Constellations, Super-vision, Balelec Nights, and Shadows of Drones.
Infinity Room 2 investigates diverse ways to evolve institutional archives, and challenges the dominant history of archive-making. Archive 1.0 is said to have been a product of bureaucracy designed to be used as an instrument of management and power (as Michael Foucault set out in The Archaeology of Knowledge, 1969 1 ).
Archive 2.0 has been dubbed "archive fever" (after Jacques Derrida 2 ) since the mechanization and digitization of archival materials has created instant access to databases, based upon efficient dendritic classification, retrieval and statistical analysis.
Archive 3.0, the ‘future archive’, is based on the properties of recollection, regeneration, reworking; rich modes of engagement, new architectures; serendipities, visualizations, interfaces and interaction. Through collaborative co-creation, Archive 3.0 is dynamic, corresponding to a move from classification to remix, a paradigmatic shift from the orthodox model of stewardship, via curation and managed access, to one of co-production, as evident in the development of crowdsourcing and Application Programming Interfaces (APIs). Archive 3.0 calls for the creation of new prosthetic architectures for the production and sharing of archival resources. The animation of the archive derives its distributed authority from personal affective engagements with cultural memory.
- Michael Foucault (1969) L’archéologie du savoir, Paris: Gallimard. Translated as The Archaeology of Knowledge, Allan Sheridan (trans.), New York: Harper and Row, 1972. ↩
- Jacques Derrida (1995) Mal d'archive: une impression freudienne, Editions Galilée, Translated as Archive Fever: A Freudian Impression, Eric Prenowitz (trans.), Chicago: University of Chicago Press, 1996. ↩
Researchers today know that archival records only present us with a partial account, just a small fragment of total history defined as much by lacunae as by content. While the making of EPFL’s history is still in its infancy, the numerous ways that its archive can be reassembled, mined and experienced is proliferating. Paradigm-changing technologies such as machine learning, computer vision and novel visualizations will continue to engage EPFL researchers across the campus for the years to come.
Jazz Luminaries was created by EPFL’s Laboratory for experimental Museology (eM+) for Infinity Room 2 at ArtLab, in partnership with the Cultural Heritage & Innovation Center: Alain Dufaux, Olivier Bruchez
The Montreux Jazz Digital Project is a collaboration between EPFL, the Claude Nobs Foundation, and the Montreux Jazz Festival.
Conceived and directed: Sarah Kenderdine, eM+, EPFL, Switzerland
Network visualization: Kirell Benzi, eKino, France
Visualization team lead and application developer: Andrew Quinn, Italy
Audio design and application developer: Davide Santini, Italy
System design and application developer: Tim Gerritsen, Roy Gerritsen, y=f(x) lab, Netherlands
GLSL programming: Darien Brito, Tim Gerritsen, y=f(x) lab, Netherlands
Spherical controller, concept: Sarah Kenderdine; engineer Patrick Chouard, ArtLab