Risk media and the end of anonymity

Hoskins, Andrew

doi:10.1016/j.jisa.2017.01.005

Cited by 4 publications

(2 citation statements)

References 6 publications

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“…Indeed, she indicates feelings of safety and security about her digital traces or 'memories' being stored there, which differs from a theoretical position. Hoskins (2017) argues that because memory objects are subject to algorithmic resurfacing and infrastructures beyond the control of the individual, the conventional understanding that externalizing memory brings stability and security is undermined.…”

Section: Archival Metaphors Of Memorymentioning

confidence: 99%

‘Sharing for the memories’: Contemporary conceptualizations of memories by young women

Annabell

2022

Memory Studies

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This article examines how young women conceptualize memories within their language use. Through a microanalysis of how the term ‘memories’ and related expressions are mobilized by participants in interviews and digital traces shared on platforms, the study offers insight into everyday articulations of memory. The term ‘memories’ not only denotes the selective reconstruction of the past in the present but also signals how certain experiences, moments and feelings are assessed as worth remembering. Talking about ‘memories’ becomes a way for young women to signify and anticipate the value of experience in the present and future. In making this argument, the article contributes to existing debates on metaphors of memory and the production of memories through mediated objects by demonstrating how mnemonic language is reconfigured within digital culture.

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Section: Archival Metaphors Of Memorymentioning

confidence: 99%

‘Sharing for the memories’: Contemporary conceptualizations of memories by young women

Annabell

2022

Memory Studies

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“…By only being able to visually explore the prints, one could argue that 2D images would offer the same experience or that a digital interactive visualization might offer a better mechanism to understand the range of headdresses (after Di Giuseppantonio Di Franco et al 2015). Furthermore, by “preserving” another object from damage, we are adding to an increasingly problematic issue in that “the act of recording has become more urgent than experiencing that which is being recorded” (Hoskins 2017). Moreover, we are increasingly adding to the items that are in need of preservation, detracting from what the object can offer as an interpretation tool.…”

Section: Comparisonmentioning

confidence: 99%

You Can Handle It: 3D Printing for Museums

Cooper

2019

Adv. archaeol. pract.

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OVERVIEW3D printing is a rapidly developing technology that has been championed as a revolutionary tool for the museums and heritage sector. Prints can provide innovative and engaging haptic experiences with objects in collections that cannot be handled, akin to craft replicas that have traditionally been employed. Large museums now regularly commission prints, yet evidence for the success of their deployment is largely anecdotal. This review considers how 3D prints have been utilized in museum contexts, with a focus on their successes and weaknesses as tools for public engagement.

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