CU’s Media Archaeology Lab is filled with technologies that no longer define the present, yet refuse to disappear. Rather than treating these machines as obsolete artifacts, this residency approached them as repositories of memory, attention, and cultural value. Each work asks what remains after a technology's original purpose has faded: the traces of use, the persistence of media, and the meanings we continue to project onto the objects we keep.

Across the series, computing devices are transformed into gilded relics, television static becomes a meditation on waiting and presence, and decades of marginalia discovered in computing texts are reassembled into visual poems. Together, these works shift attention away from technological progress and toward the quieter histories embedded within media - histories written through touch, repetition, annotation, and care.

Inspired by the Media Archaeology Lab's conviction that "the past must be lived so that the present can be seen," the residency considers obsolete technologies not as endpoints, but as living archives. Their value lies not only in what they once did, but in what they continue to reveal about the people who used them.