Interactive Media Archive

Collaborative Archive of Interactive Media

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  • (De)Construction of Meaning, Digital Archive and View-using Process: A Comparative Analysis of Her Story and Immemory
  • *About*
  • *Spring 2016 Born-Digital Projects*
  • 2019 Greek Multimedia Presentations
  • 2019 group presentation on P.O.V
  • 3D artist Matt Romein
  • A Tissue of Non-human Citations: Meeting d.n. rodowick the Artist
  • About the VR Film Broken Night
  • amusement park
  • An Interactive Lagoon: a Comparison of The Embodied Interface and the Video Game Abzu
  • Animated GEICO Gecko
  • Artintact Komplett group presentation Fall 2019
  • Artintact – “The Exquisite Mechanisms of Shiver” & “Slippery Traces”
  • ARTINTACT: THINGS SPOKEN
  • Augmented Reality and Nonlinear History in “Ghost Game”
  • Barlow’s (Her) Story: Interactivity, Immersion, and Authorship
  • Bilibili – The Interactive Video Sharing Website
  • Bioshock Infinite
  • Black Portraiture[s] V Conference: New Media, Techno, Archive, and Art
  • Bleeding Through: Layers of Los Angeles, 1920-1986
  • Can I Cite A Tik Tok?
  • Candy Crush
  • Chinese Panorama
  • Christian Boltanski’s Chance
  • Cinema in the Golden Box- The spectacle of live communication
  • CONNECTED WORLDS – An Immersive Interactive Installation
  • Continue on, Portrait One (from ArtInTact)
  • Controlling an Art: Video Games and Interaction
  • Crazy Bloody Female Center
  • Critical Making Manifesto
  • Current Projects [Ongoing]
  • Database novella: Bleeding Through [Labyrinth Project]
  • Deconstructing Interlude
  • Digital Remains and the Post-Mortem Repository
  • Digital Self-Authorship in Molly Soda’s “Desktop Dance”
  • Digitalizing Oral Histories: Tenement Museum Virtual Tour
  • Do Not Track: A personalized i-doc
  • Documenting the Terrors of Tech
  • Duration and Lag as a Meditation on Consumption in Shu Lea Cheang’s “Milk”
  • Dys4ia as a Prosthetic memory of TRANSition
  • Facebook’s Virtual Reality: A Nonfictional Conduit for Empathy or Shameless Corporate Promotion?
  • Fall 2016 Interactive Finals
  • Fall 2017 Finals
  • Fall 2018 I-History Projects
  • Fall 2019 Finals
  • Fall 2020 Interactive History Finals
  • Fall 2021 Interactive History Finals
  • Finding Mr. Park
  • Fort McMoney: A Nearing Obsolete Interactive Experiment in Democracy
  • From Sewers to Slumber Parties: VHS as Interactive Cinema in the Home
  • Group presentation on Highrise: A collaborative documentary series
  • GROUP PRESENTATION ON THE FALLEN OF WORLD WAR II: A data-driven interactive documentary
  • Healing: From the Museum to the Mall
  • hitRECord
  • Hypertext fiction: A Recombination of Literary Database
  • I Transform Cinderella
  • Imagining and Exploring Digital Environments Through New Media
  • Immersive Storytelling in Arden’s Wake
  • Immersive Theater
  • Inklewriter: Choose/Create Your Own Adventure
  • Interactive Advertising
  • Interactive Advertising in S. Korea
  • Interactive Children’s Books
  • Interactive Street Arts
  • Interactive Theater: We Play Back Your Story!
  • Interactivity in South Korea I
  • Interface, Narrative and Interactivity in Cibele
  • Invisible World: Spatial Montage and Interactive Cinema as a Haptic Experience
  • Is Virtual Reality Better than Cinema at Engendering Empathy?
  • Jai Paul’s MySpace Archive
  • Killer.Berlin.doc, The Wilderness Downtown, and Late Shift: Surveillance, Detachment, and Nostalgia
  • Last Hijack Interactive: Why is this interactive?
  • Lifeline — Game? Narrative? Or Future?
  • Mark Ghuneim’s Real-time Twitter Streaming Artwork as a Metacommentary
  • Material Rituals
  • MELODRAMATIC CLIPS AND PLAYLISTS CULTURE
  • Miyubi@FoST2017
  • Mobile Memory on Kirsten Johnson’s “Cameraperson”
  • Monsters Inc. Laugh Floor
  • MULTIMEDIA PRESENTATIONS – F15
  • Mysteries and Desire: Searching the Worlds of John Rechy
  • New Advancements in Digital Archival Documentary in the Work of Jon Bois
  • Nufonia Must Fall
  • ODORAMA- John Waters’ “Polyester”
  • OMGPOP – Free Online Gaming
  • Online Gambling
  • Online Iraqi
  • Operation Ajax as Historical Interactive Prosthesis
  • Out My Window – The Role of Architecture in Seeking the “Film-Truth”
  • Pathfinders
  • Philip Glass’ Minimalist Music
  • Pilule Alpha: Cannes Première
  • Plateforme 14/18 [i-doc/history]
  • Possibilia and the Further Possibilities for Understanding Time & Character
  • Private Property (1992): Interactive Multimedia meets Downtown Theatre
  • Prosthetic Memory / Interactive Video Game
  • Reality Jockeys: a virtual flashback
  • Redbox
  • Remix//Recut//MashUp//Etc
  • Rethinking Networks / Rethinking Communities
  • Rewriting Rewritten History
  • Sally or the Bubble Burst 2.0
  • Selections from Artintact 1994-99
  • Self-reflexivity & Interactivity in Caveh Zahedi’s The Show About The Show
  • Sound-Oriented Archive as Prosthetic Memory?: The Case of Conserve the Sound
  • Soundscape Experience: Women’s Rights Pioneers Statue & Subway Plays
  • Spring 2017 – DH projects
  • Spring 2021 Finals
  • Spring 2022 Finals
  • Sufferrosa & New Media Philosophy
  • Surveillance Capitalism and Its Alternatives
  • Tape recorder
  • TEKNOLUST: A RE-, TRANS-, HYPER-MEDIATED EXPERIENCE
  • The American Writers Museum: Database History Between Digital and Analog
  • The Consequence of Choice: The Question of User Control in Until Dawn
  • The Diary Archive of Pieve Santo Stefano
  • The e-sports live sites change young people’s lifestyles in China
  • The Fair(y) Use Godmother and her Very Digital Wand
  • The Prism of Interactive Art
  • The Quipu Project: Historical Significance, Social Influences, and the Utilization of Interactive Media
  • The Spacebubble Event
  • The Twitter Takeover
  • The world’s art @ your fingertips
  • Theater in the Dark: A Multi-sensory Experience
  • Three Winters in the Sun: Einstein in California
  • Toni Dove’s “Sally or the Bubble Burst”
  • Toward Digitality with Infinite Jest
  • Tracing the Decay of Fiction
  • Urban Spaces Reflected in Interactive Art
  • User Not Found: An expanded mourning process in a digital age
  • Video Games and the Future of Narrative
  • Video Games: Artistic Interactivity of the Highest Caliber
  • Vine
  • Visualizations 2018 & 2020 [pedagogy]
  • Voice Our Future: Extended Reality and Relational Aesthetics – Qian Li
  • Voting System in American Idol
  • VR K-Pop Idols: A Twisted and Expensive Daydream
  • Vrse, Providing Live Actions in Virtual Reality
  • VÆGGEN: Learning Through Participatory Culture & Psychogeography
  • Walking into a VR shoot
  • Wanted: Space Archaeologists, No Experience Necessary
  • Warped Out?… Never!!!… RHPS 4ever!!!
  • We made this comic
  • Welcome to the Dreamhold: Text-Based Interactive Fiction
  • WHERE THE F*UCK IS THE FILM HERE
  • Why Do People Always Talk About Content When They Talk About Virtual Reality As A New Medium
  • Witchever Path Podcast
  • YouTubers
  • “fiveFilms4freedom” and LGBT Digital Visibility
  • “The Time of the Game”: Locating the Place(lessness) of Mediated Sport Spectatorship

Media Archeology Projects – Spring 2022

March 12, 2022by MarinaHass Leave a comment

We tend to think of the “digital” as a singular, monolithical period in media history….yet, there are actually many phases of the digital/electronic, as these media archeology projects explore. Each […]

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Spring 2021 Finals!

May 9, 2021by interactiveblogger Leave a comment

New page added with links to final projects and multimedia presentations/ alternative theory projects for The Greek “Weird” Wave seminar, and the graduate Film Theory through the Senses course. Click […]

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Online Teaching

December 11, 2020by interactiveblogger Leave a comment

Final post for 2020: A special page dedicated to zoom teaching during the Fall 2020 semester. Thanks to all my students for being open to experimentation, and for embracing the […]

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Visualizations & Finals for Mind Games in Film: Narrative Complexity in Transnational Cinema – Fall 2020

December 11, 2020by interactiveblogger Leave a comment

The Visualizations page has been updated to include Visualizations projects and multimedia presentations/final projects from the Fall 2020 Mind Games seminar! Students produced outside the box multisensory projects that really […]

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Interactive History Finals 2020

December 11, 2020by interactiveblogger Leave a comment

Final projects for the graduate seminar, Interactive History: Digital Media as Cultural Memory Prostheses, Fall 2020! Click >>here << for more. Thanks to everyone for their amazing contributions!

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Fall 2019 Greek “Weird” Wave Multimedia Presentations

December 11, 2019by interactiveblogger Leave a comment

Check out the Fall 2019 multimedia presentations for the undergraduate course, the Greek “Weird” Wave, curated on this page. For more, visit the Weird Wave Archive.

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Fall 2019 Interactive Cinema & New Media – Finals

December 4, 2019by interactiveblogger Leave a comment

Descriptions and links to final projects / final research multimedia presentations will be posted next week. Students, please visit this page and fill out the required information.

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the Weird Wave Archive is now live!

December 19, 2018by interactiveblogger 1 Comment

The collaborative Weird Wave Archive is now live! Thanks to the students from the Greek “Weird” Wave undergraduate course for contributing to this growing archive. Check back and subscribe for […]

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Interactive History Final Projects 2018

December 19, 2018by interactiveblogger Leave a comment

Click here to visit the final projects from the Interactive History: Digital Media as Cultural Memory Prostheses graduate seminar, Fall 2018.

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Visualization Projects Spring 2018

April 30, 2018by interactiveblogger Leave a comment

Check out the collection of student visualization assignments for the undergraduate course Mind Games in Film: Analyzing Narrative Complexity in Transnational Cinema, NYU, Spring 2018.

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Recent Posts

  • Media Archeology Projects – Spring 2022
  • Spring 2021 Finals!
  • Online Teaching
  • Visualizations & Finals for Mind Games in Film: Narrative Complexity in Transnational Cinema – Fall 2020
  • Interactive History Finals 2020

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