ABSTRACT
Museums dedicated to aspects of media and communication heritage have been in existence since 1872. The earliest examples include the Postal Museum (now the Museum of Communication) in Berlin and the Telegraph Museum (now A.S. Popov Central Museum of Communications) in Saint Petersburg. It was not until a hundred years later, however, that this museum trend took off in earnest. Towards the end of the twentieth century the rapid development of new media technologies, rendering old media technologies obsolete, reached a point where it became pertinent to conserve these obsolete technologies for posterity and put them on display in museums (Mortensen 2017). Thereby, media technologies now constitute part of our cultural memory both in the potential state of the archive and in the actual state of exhibitions (Assmann 1995).
