Culture of the Past

Pogačar, Martin

doi:10.4324/9781315637235-2

Cited by 7 publications

(3 citation statements)

References 1 publication

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“…This prioritizes self-presentation as a function but still she concludes that "versatility and multipurposing" qualify online photographs to endlessly reappear in ceaseless flows, so that "the definition of personal memory is gravitating toward distributed presence" (ibid., p. 74). Thus, the networked scattering of the digitized, visual traces of the self, which is discussed also by Pogačar (2009), seems to be a decisive trait of contemporary, mediated memory. The solidification of communal memory through the online circulation of personal photographs sheds light to another function of snapshot photography that was improbable before the networked era, which is to stand as the published, visual, non-verbal chronicle of communal testimony without ever denying its unofficial positioning, on the contrary, even more so.…”

Section: Networked Memorymentioning

confidence: 95%

“…In discussing collective memory and connectivity Pogačar (2009) observes that off-line communities build memory out of their collective spatiotemporal co-existence, thus they turn collectivity to connectivity. Online, the abstractly shared horizons of social publics accommodate virtual collectivities, which "build memory out of connectivity" (Pogačar, 2009, p. 27) affecting the ways we "conceive of collectivity and memory online" (ibid., p. 38).…”

Section: Networked Memorymentioning

confidence: 99%

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Balance of Private Image and Memory

Kotamanidou¹

2023

DAC

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The invention of photography was followed by its extensive usage as visual documentation of any possible scene, by nature, human, object or event. The watchful eye of the camera was hailed as an impassive observer of facts, a witness that tells no lies entrusted with the preservation of public and personal histories. Under these assumptions it was connected with the crystallization of collective memory as well as the wide initiation of private archiving in the form of the family album, especially when easy-to-use camera technology became commercially affordable. In this short essay, accepting a line of continuity between snapshots and networked photographs despite technological and cultural ruptures, their attributes and uses will be held accountable for providing a mediated, visual shelter to notions of personal and collective memory. Although this kind of imagery is deemed non-art, my approach is conducted as an art-fuelled investigation, with a mind to set a field of potent exchanges between memory function and images for cultural negotiation. For that, using interdisciplinary discursive analysis I will look at the evolution of photographic imagery from snapshot to networked within a branch of personal, self-produced representations that have affected both our autobiographical referencing and collective remembrance. The notion of memory, as the performative interaction between person, technology, media and narrative will be seen against snapshot and networked photography as an informal, meaning-making tactic. In particular, network photography is acknowledged mainly through its manifestations on visual posts on Facebook or Instagram. While snapshots as a genre satisfied the need to handle privately the visual documentation of our past and allegedly keep time frozen, networked photographs establish memory in fluidity as remembrance of the present moment just-turned-into-past. The above positioning prompts a bipartite question: (a) do networked photographs support memory on a personal and collective level in ways similar to snapshot culture, and (b) in the advent of changes has the flow of memory been altered?

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Section: Networked Memorymentioning

confidence: 95%

Section: Networked Memorymentioning

confidence: 99%

Balance of Private Image and Memory

Kotamanidou¹

2023

DAC

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“…Janet argued that the very definition of memory is social: memory is a narrative, or account [récit]; there is no memory if we do not have a narrative of a past to share with another – regardless of whether that narrative is actually shared or not (Janet 2006). From a sociological point of view, the digital memory economy fuelled by digital media is therefore monetising an already social practice, which perpetuates already existing inequalities in social remembrance (Pogačar 2017). In addition to being highly industrialised and complex, digital memory is a field of social production that is ‘both external and internal’: digital technologies record data from within our body through medical imaging, and they ‘capture and record data memories from far reaches of the universe and bring that knowledge to earth’ (Reading and Notley 2017, 235).…”

Section: On Digital Memories and Bergsonmentioning

confidence: 99%

Algorithmically generated memories: automated remembrance through appropriated perception

Henriksen

2024

Mem. Mind & Media

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This article is on algorithmically generated memories: data on past events that are stored and automatically ranked and classified by digital platforms, before they are presented to the user as memories. By mobilising Henri Bergson's philosophy, I centre my analysis on three of their aspects: the spatialisation and calculation of time in algorithmic systems, algorithmic remembrance, and algorithmic perception. I argue that algorithmically generated memories are a form of automated remembrance best understood as perception, and not recollection. Perception never captures the totality of our surroundings but is partial and the parts of the world we perceive are the parts that are of interest to us. When conscious beings perceive, our perception is always coupled with memory, which allows us to transcend the immediate needs of our body. I argue that algorithmic systems based on machine learning can perceive, but that they cannot remember. As such, their perception operates only in the present. The present they perceive in is characterised by immense amounts of data that are beyond human perceptive capabilities. I argue that perception relates to a capacity to act as an extended field of perception involves a greater power to act within what one perceives. As such, our memories are increasingly governed by a perception that operates in a present beyond human perceptual capacities, motivated by interests and needs that lie somewhat beyond interests of needs formulated by humans. Algorithmically generated memories are not only trying to remember for us, but they are also perceiving for us.

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The Production of German- and Russian-Language Interactive Biographies: (Trans)National Holocaust Memory between the Broadcast and Hyperconnective Ages

Stegmaier

Ushakova

2021

Digital Holocaust Memory, Education and Research

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Culture of the Past

Cited by 7 publications

References 1 publication

Balance of Private Image and Memory

Balance of Private Image and Memory

Algorithmically generated memories: automated remembrance through appropriated perception

The Production of German- and Russian-Language Interactive Biographies: (Trans)National Holocaust Memory between the Broadcast and Hyperconnective Ages

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