Foucault says that the archive is “that which differentiates discourses in their multiple existence and specifies them in their own duration.” (The Historical A Priori and the Archive, 129) Foucault is saying that the archive recycles from the past and recasts it in the future. The Stolen Time Archive is doing just that; its very name invokes a sense of reclaiming the past. One of the projects I looked at was about the Irish potato famine. Entitled Mobile Figures and located under the mobility section (Volume 1 Issue 2), David Lloyd and Erik Loyer merge something from the past, the Irish Potato Famine, and forms it to present time, which led to the creation of an interactive ‘potato map.’ I think this is effective, but not as effective as it could be. Each of the other archives were about one pretty specific topic, but The Stolen Time Archive seems to be less pointed, which I think is a drawback. A lot of the things I saw on the Archive were really interesting, but I’m not sure how I would use them. And I don’t know if I would ever come across this archive when looking for something specific because it doesn’t seem to be a completely cohesive piece of work.
In my exploration of the Modernist Journals Project, I looked at the 1910 collection,and the National Geographic issue from June 1910 at http://modjourn.org/render.php?id=1236637331812500&view=mjp_object . In this issue, advertisements occurred only at the beginning and at the end, but many of them were concerned with time, times changing, and with preservation or keeping of time, including advertisements for watches and cameras. On one particular page, an advertisement for the selling of Ruskin Proofs, concerned wtih the preservation of the old masterpieces of Rusikin in reproduction, is located next to "Baldwin Dry Air Refrigerators" which are concerned with "The Test of Time." Within a few pages, there is a full-page advertisement for the Waltham Watch Company, who advertises their watch company as "a matter of history."
Obviously a magazine like National Geographic appeals to an audience who is interested in the historical record, and interested in preservation of the present for posterity. That seems to be its intellecual agenda. Advertisements, as such, appeal directly to people who are interested in the history of the company, in objects who will help them record the past or present, and in objects of historical import or authenticity.