Everything in this archive was drawn from scratch.
Method
There are no screenshots in this museum. Every one of the 11 exhibits is a interface rebuilt in CSS, SVG and canvas — which is why you can press the buttons. Where an original could be observed running, its measurements were taken from it directly: Nairaland's link green, its type stack and its exact post metadata format were read off the live site rather than remembered.
The interfaces are ours. The media inside them is not. Every pixel of chrome is drawn here: the ringtones are synthesised in your browser from RTTTL, the plain-text format the phones themselves stored, and every melody was written for this archive. The Nokia wallpapers and its game of Snake are procedures, rendered to a canvas at one bit per pixel. The sound effects are oscillators. The handsets — a Bold 9700, a 5700 XpressMusic — are CSS, drawn from photographs.
What sits inside those frames is other people's. The videos in the YouTube case are embedded from YouTube and credited to the channels that uploaded them; each was checked against YouTube's own endpoint, which refuses videos whose owners disallow embedding. The photographs in the Facebook and blog cases come from Unsplash under its licence and carry their credit in the interface. Nothing was scraped, mirrored or re-hosted — it is embedded, and it is named.
The three wordmarks you can scratch off the stamps on the front page are set as live type in system faces — Verdana, Georgia, Tahoma — in the same way each replica sets its own chrome. They are recreations of lettering, not copies of logo files.
What is written
The wall labels are factual and sourced. The contents — forum threads, chat messages, blog comments, broadcast texts — are written for the archive. They are period-accurate in shape, register and subject, and invented in substance, so that no real person's words are put in anyone's mouth. Product names are used the way a museum labels a case.
One case names a living person. The blog is Linda Ikeji's, and everything stated about her there is documented and cited — the 2006 start, the cybercafé years, the 2007 Blogspot subdomain, the August 2012 search ranking, the October 2014 takedown and restoration. The post itself is bylined to this archive, not to her: no sentence in that case is presented as her writing. The comments beneath it are invented, because those commenters were anonymous and are not identifiable people.
Design
The stamp album is after the 1970s definitive issues of the Nigerian Security Printing & Minting Company — perforated edges, three flat spot inks, a heavy display face, a denomination in kobo, and a printer's credit line set in six point. The crimson-and-mustard poster is after the Lagos travel plates of the same period.