TY - JOUR
AU - 
AB - Recycling Destroyed Cities: Ruined Archives in Copy Art Maryam Muliaee DOI:10.15664/fcj.v19i0.2387 Frames Cinema Journal, Issue 19 (March 2022) Maryam Muliaee Today, the status of the archive is determined by the constant reuse, circulation, and expansion of audio-visual materials. With an unprecedented accessibility of digital tools, artists and filmmakers benefit from this archival instability to make their own collections and create works that consequently disrupt the established meanings of their original sources. Among the tools at hand are copy machines, generative technologies with both reproductive and degenerative capabilities, that have long been of interest to artists. Indeed, the history of copy art is centred around how artists began using copy machines beyond their market-driven purposes. In this article, drawing from Catherine Russell’s articulation of archiveology, I explore the creative potential of the copy machine as a tool to recycle archival materials and practice archiveology. I investigate examples that use copiers as tools of archiveology, including my work Recycled Series. Consisting of multiple short animated films, Recycled Series (2016-2019) is a practice-based research project in which I used a black-and-white digital copy machine to recycle a series of original and archival film images in several cycles. In this process, the copier 
TI - Recycling Destroyed Cities: Ruined Archives in Copy Art
JF - Frames Cinema Journal
DO - 10.15664/fcj.v19i0.2387
DA - 2022-02-18
UR - https://www.deepdyve.com/lp/unpaywall/recycling-destroyed-cities-ruined-archives-in-copy-art-cLIj7UdKG5
DP - DeepDyve
ER -