Derek Murphy and Mitchell Zemil have been working together on documentary films ever since their misbegotten youth bumming around the abandoned buildings of Sarasota, Florida. Their work is concerned with youth culture, illegal spaces, Social Ecology, Surrealism, Situationism, outsider art, internet communities, and the archival preservation of ephemeral digital culture. Murphy is a librarian and filmmaker living in Boston. Zemil is an animator, director, and adjunct professor in New York City. The duo is best known for their feature-length documentary Sarasota Half in Dream and their series Preserving Worlds: https://preservingworlds.net/

Marijn Bril is a media art curator and researcher. With an interest in digital culture’s complexity and absurdity, she explores topics such as networked image culture, expanded internet art, and technocratic productivity values. She has curated programs for IMPAKT Centre for Media Culture, CIVA Festival, and The Wrong Biennale and has published essays with Mister Motley, VIEW Journal, and the Institute of Network Cultures. Marijn graduated from the Erasmus Mundus Joint Master’s degree in Media Arts Cultures at the University for Continuing Education Krems (AT), Aalborg University (DK), and the University of Łódź (PL). https://www.marijnbril.work/

Abstract
In the 90s, GeoCities was one of the most popular websites and, for many, their first experience of the internet. The platform allowed users to build their own website about their interests, hobbies, and fascinations and organised these through a spatial metaphor in a city structure. In 2009, Yahoo, the then-owner of the platform, abruptly closed down the website, risking its extensive internet culture to get lost. Various organisations archived GeoCities pages and made them available to enthusiasts and researchers. The net artists Olia Lialina and Dragan Espenschied engage with GeoCities’ legacy in their project One Terabyte of Kilobyte Age (2010–ongoing), encompassing a research blog, Tumblr page, and exhibited works. This presentation analyses the archival strategies of the artists and places their practice in the context of web archiving organisations to understand how an artistic position may open up other ways of engaging with digital cultural heritage.