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Time capsules have been used for thousands of years to store for posterity a selection of objects thought to be representative of life at a particular time. Such vessels have the dual purpose of causing participants to ponder their own cultural era and think about those to come. This work is a cultural history of five thousand years of time capsules and other related time-information transfer experiences. It examines both the formal and the popular culture aspects of the time capsule, from its roots in ancient Mesopotamian and Egyptian building foundation deposits to the present utilization of spacecraft probes and other extreme locations. The deposits of 3000 BCE deliberately had no definite date and time to be opened; in 1876 CE came the idea of target-dated deposits. Also discussed are how "real" time capsules work, notional and archaeological time capsules, the height of the time capsule's popularity from 1935 to 1982, the preservation of writings in time capsules, keeping time in a perpetual futurescape, and turn of the century hype surrounding millennium time capsules.

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How the archive evolved to include new technologies, practices, and media, and how it became the apparatus through which we map the everyday. In Archive Everything, Gabriella Giannachi traces the evolution of the archive into the apparatus through which we map the everyday. The archive, traditionally a body of documents or a site for the preservation of documents, changed over the centuries to encompass, often concurrently, a broad but interrelated number of practices not traditionally considered as archival. Archives now consist of not only documents and sites but also artworks, installations, museums, social media platforms, and mediated and mixed reality environments. Giannachi tracks the evolution of these diverse archival practices across the centuries. Archives today offer a multiplicity of viewing platforms to replay the past, capture the present, and map our presence. Giannachi uses archaeological practices to explore all the layers of the archive, analyzing Lynn Hershman Leeson's !Women Art Revolution project, a digital archive of feminist artists. She considers the archive as a memory laboratory, with case studies that include visitors' encounters with archival materials in the Jewish Museum in Berlin. She discusses the importance of participatory archiving, examining the “multimedia roadshow” Digital Diaspora Family Reunion as an example. She explores the use of the archive in works that express the relationship between ourselves and our environment, citing Andy Warhol and Ant Farm, among others. And she looks at the transmission of the archive through the body in performance, bioart, and database artworks, closing with a detailed analysis of Lynn Hershman Leeson's Infinity Engine.

Featuring a highly provocative series of interviews conducted in early 1969 with some of the most dynamic, daring, and innovative artists of the tumultous 1960s. The nine individuals - eight artists and one art dealer - are now known as major contributors to Conceptual art.