This paper provides a study of a workshop which invited composers, musicians, and sound designers to explore instruments from the history of electronic sound in Sweden. The workshop participants applied media archaeology methods towards analyzing one particular instrument from the past, the Dataton System 3000. They then applied design fiction methods towards imagining several speculative instruments of the future. Each stage of the workshop revealed very specific utopian ideas surrounding the design of sound instruments. After introducing the background and methods of the workshop, the authors present an overview and thematic analysis of the workshop's outcomes. The paper concludes with some reflections on the use of this method-in-progress for investigating the ethics and affordances of historical electronic sound instruments. It also suggests the significance of ethics and affordances for the design of contemporary instruments.

Scan processing is an analog electronic image manipulation technology which emerged in the late 1960's, reached its apex during the 1970's, and was made obsolete by digital computing in the 1980's. During this period, scan processing instruments such as the Scanimate (1969) and the Rutt/Etra Video Synthesizer (1973) revolutionized commercial animation and inspired a generation of experimental video artists. This paper presents a media archaeological examination of scan processing which analyzes the history and functioning of the instruments used, what sorts of possibilities they afforded their users, and how those affordances were realized with technology of the era. The author proposes the reenactment of historical media technologies as an investigative methodology which helps us understand the relation of past and present, and details a reenactment of scan processing involving the display of digitally synthesized audio signals on an analog Cathode Ray Tube vector monitor.

The analog technology of scan processing was developed and used during the 1970s as a method of electronic image animation. Because their real time modes of operation strongly resemble those of electronic musical instruments, scan processors can be considered instruments with which to compose and play moving images. Although cheaper digital tools replaced them in commercial studios during the 1980s, scan processing has a distinctive aesthetic that continues to inspire both visual artists and instrument designers. This article examines the way that scan processing instruments’ affordances arise from specific combinations of the user, technology, and situation by surveying a number of technical and artistic use cases involving two different instruments: the VP-8 Image Analyzer and the Rutt/Etra Video Synthesizer. The article also demonstrates how reenacting an instrument works through its historical affordances using current technological means to address present-day contexts.

Reenactment forms a unique method of exploring the social, political, historical, conceptual, contextual and other aspects of electronic sound instruments from the past, without necessarily reproducing the instrument’s physical, functional or sonic char- acteristics. Rather, the reenactment presents a novel instrument, realized through contemporary means, reflecting on contempo- rary concerns and within a contemporary context. We find reen- actment complementary to conservation, maintenance, recon- struction and emulation in working with archival and museum objects. Our paper presents an analytic framework developed for use in workshop scenarios. The series of questions within this framework helps determine and understand which aspects of an instrument might be reenacted. To illustrate the process in ac- tion, we describe an example workshop wherein participants use methods of media archaeology, design fiction and role playing to imagine and reenact new features, affordances, contexts and applications of electronic instruments from a museum exhibition.