Tag: memory

Collective Memory

dva-12By providing symbols, rituals, and representations, expressions, emotions, relations, media compose shared memories of modern people. Collective memory mostly consists of publicly available social events that are circulating in the media environments.

Books

  • Treske, Andreas. Video Theory : Online Video Aesthetics Or The Afterlife Of Video. n.p.: Bielefeld : Transcript Verlag, 2015., 2015.
  • Laurel, Brenda. Computers As Theatre. n.p.: Reading, Mass.: Addison-Wesley, 1993., 1993.
  • Murray, Janet Horowitz. Hamlet On The Holodeck : The Future Of Narrative In Cyberspace. n.p.: Cambridge, Mass. : MIT Press, 1998., 1998.
  • Miller, Carolyn Handler. Digital Storytelling : A Creator’s Guide To Interactive Entertainment. n.p.: Amsterdam : Focal Press, c2004., 2004.
  • Swink, Steve. Game Feel : A Game Designer’s Guide To Virtual Sensation. n.p.: Amsterdam ; Boston : Morgan Kaufmann Publishers/Elsevier, c2009., 2009.
  • Moggridge, Bill. Designing Interactions. n.p.: Cambridge, Mass. : MIT Press, c2007., 2007.
  • Nichols, Bill. Representing Reality : Issues And Concepts In Documentary. n.p.: Bloomington : India University Press , 1991., 1991.
  • Manovich, Lev. The Language Of New Media. n.p.: Cambridge, Mass. : MIT Press, 2001., 2001.

  • Cubitt, Sean, Daniel Palmer, and Nathaniel Tkacz. Digital Light. N.p.: n.p., n.d. Openhumanitiespress. 2015. Web.

  • Ernst, Wolfgang, and Jussi Parikka. Digital Memory And The Archive. n.p.: Minneapolis : University of Minnesota Press, c2013., 2013.
  • Parikka, Jussi. What Is Media Archaeology?. n.p.: Cambridge, UK ; Malden, MA : Polity Press, 2012., 2012. BILKENT UNIVERSITY’s Catalog. Web. 9 Nov. 2016.
  • Blom, Ina. Memory in Motion. Archives, Technology and the Social. Ed. Trund Lundemo and Eivind Rossaak. Amsterdam: Amsterdam UP, 2016. Print.
  • Saunders, Dave. Routledge Film Gıidebooks: Documentary. Routledge, 2010.
  • Simanowski, Roberto. Digital Art And Meaning : Reading Kinetic Poetry, Text Machines, Mapping Art, And Interactive Installations. n.p.: Minneapolis, MN : University of Minnesota Press, 2011., 2011. BILKENT UNIVERSITY’s Catalog. Web. 4 Jan. 2017.
  • Campanelli, Vito. Web Aesthetics: How Digital Meida Affect Culture and Society. Rotterdam, NAi Publishers, 2010.
  • L. Manovich, Software Takes Command (version: 20 November 2008), 175. Web: hettp://softwarestudies.com/softbook/manovich_softbook_II_20_2008.doc.
  • Lister, Martin. New Media : A Critical Introduction. n.p.: London ; New York : Routledge, 2007., 2007.

Representation of Memories

“…that the past is not given, but must instead continually be re-constructed and re-presented” (Asrid Erll, 2008)

Memory is so much about the media, which express and disseminate contents of remembering. In our age of rapid changes, there are many ways to represent the memories. Archives, with and without a narrator, are tools for collective memories. We are recording visible and even non-visible data with the enabling technologies. The new technologies make the storage easily accessible and keep the cleanest archives because of its capacity of organisation and calculation make the fastest developments.


 

Even if Ernst insists on the epistemological nature of the media archaeologist as a reverse engineer (also literally, as elaborated later), his context for the ideas stems from a certain ontological understanding concerning technical media culture. In short, it is the calculation- and number logic–based ontology of technical (and especially computational) media through which cultural memory is articulated. This provides an alternative to the literary based narrativization that historians provide in their epistemological and ontological premises. Ernst’s position is aware of the materialist media grounding of contemporary archives that engage not only with images and sounds but nowadays increasingly with software-based cultural memory. The issue of digital memory is then less a matter of representation than of how to think through the algorithmic calculation– based ontology of a memory.

Kittler’s claim: technical media record not only meanings but also noise and the physicality of the world outside our human intentions or signifying structures.