FORGETTING CONFERENCE. CASTRUM PEREGRINI / tensions on Internet about tembrr and forgetting/ Facebook memory, algorithm memorys/ as much as I know about digital memory the less I want to remenber digitally/ the Google algorithm makes an important role on how we remember/ how memory works in 21 century. Inmigrant, remaniscence bomb a memory spike, that happen in a period of life teenagers, but also when you move to another country (refugees inmigrants) trauma. Forgetting the exception remembering the default. How to remember resposable, not getting lost? Everything you store, you forget it. Technologies undermine everything (distraction,gps). What is important is the way you handle information, not memorize. Trauma and facebook, you can’t move to a place without having your life behind. The circle Mac ?.    Snapshot. Memory spike, if the migrant and refugees have all this digital memory (photos of home etc) the nostalgia will be not so big, so the memory spike will be more rounded less pick. I make a photo in order to move on, ok I have the photo now I can move on. Memory palace. The book on a box.  Stories for your screen website. Memory is always future oriented, not backwards. We are representing the past, the photos are just representation of the past.  Memory in the 21 century.  Sebastian groes. 



Everything we are will be forgotten in the fullness of Geologic Time.

During one year María Molina Peiró carried a wearable camera taking a photo every 30 seconds. The enormous collection of photos collected by the camera are shown in an interactive archive that instead of “remembering” proposes a creative forgetting of the vast photo archive.

One Year Life Strata proposes a visual metaphor of forgetting by transforming the digital memory into strata and burying it into deep time. Therefore, the interest doesn’t lie in the individual images but in the overview and the data that can be derived from them (highlighting the main role of images on the Internet).


In the archive the images are used as data that can be explored and edited. Finally, they are transformed into a 3d printed Time Capsule.


In a society obsessed with data and recollection, One Year Life Strata wants to open a reflection about the growing fear of forgetting in the Digital Age, the indiscriminate use of data and the importance of rethinking our ability to forget in our society.


On January 31st of last year, at exactly 23:45 I started wearing a small device called Narrative Clip[1], with the purpose of wearing it throughout all of 2015.

This camera, which announces itself on its website as “Memories like you´ve never shared them before”, consists of a “digital memory” that offers the possibility of storing our daily lives for a reasonable price and little effort. Narrative clip takes photos in an arbitrary way every thirty seconds while you wear it as a necklace or breast pin. There are currently other similar devices such as “Mecam” of the better know Google Glasses in the market.

In my experiment I was mostly interested in seeing if my behaviour and that of those around me would be somehow affected by the use of this camera, I was interested in questions about privacy,  and how we have become a kind of CCTV camera registering everything that happens around us and how this reality is becoming something normal without our society looking at it very critically.

But after 3 months wearing a Narrative Clip on a daily basis,  I also became interested in how the Narrative Clip was a clear example of the impulsive recollection in our society and a shift we are going through: forgetting has become the exception and remembering the default.

 In April 2015, almost on its own, an idea began taking form: what I had to do with this experiment was actually to create an awareness of these ideas, to develop a creative proposal of “digital forgetting”, a proposal that intends to open a reflection on the indiscriminate use of “digital memory” and the value of forgetting.

 Then my experiment was transformed in to the project “One Year Life Strata”.



The use of Narrative Clip during one year to «digitalize» my daily life.


Create a site where you can see all my photos of 2015 piled together in a three-dimensional montage. The combination of images will look as if a group of geologists with a giant drill had extracted the core of my 2015, revealing its different strata.

This will permit a vision of the aggregate of my images in 2015 but not the individual images. The project is therefore not interested in the images themselves but in the data that can be drawn from them, simulating Google’s modus operandi and proposing a creative of forgetting of my 2015.

In this site there will be a 3d interface where we can move freely to the different “stratigraphy sections” of each month of the year. We will also have different indicators that will change the form of the “section” depending on the required data.

I started to work with the dutch designer and developer Frederic Brodbeck recently, so the video you can see bellow is just the first trial and it was focus on visualizing the virtual strata. So here are just some easy tools in order to play with the stratigraphy section, this is not what is going to be on the real website. And as you can see in this trial you are able to see the images, something that will not be possible in the real site. But I did it this way on purpose in order to show that I´m working with the real material, with the photos of the experiment.

3. Materialisation

In this step the objective is to put into material form the virtual strata. So the tri-dimensional forms produced by the website, the core of my 2015, will be printed in 3d.

The external disk (that will contain all of the photos taken by Narrative Clip during my 2015) will be stored inside of the sculptures. The sculptures will then become a time-capsule that can only be opened after 60 years. This will mean that you have to break the sculpture but also deal with the possible obsolesons of the digital format in which all the photos are stored and the digital forgetting that could imply. The sculpture is then born with the spirit of a digital archeological remain or fossil.



4. Documentation

On the website there will be a section where I document the experiment itself, and the different steps within the project.



 In September I decide to make a little experiment in order to materialize the project One Year Life Strata. For the experiment I just use the photos from one day, within the vast archive I picked the day my daughter was born, for obvious reasons.

In order to depict the strata I went through all the photos of that day, drawing with pen colors  just the bottom and the left side of each photo, as if they were a layer from the strata, as two lines. Some red, some grey, some black and so on.

Almost 1000 photos, so you can imagine how much time it took me to make the drawing. I used this time, about 40 hours, as a kind of Zen Ritual, in order to put my thoughts again into my research and project, after one year off from the master.

In the drawing I also trace the GPS data (from my home to the hospital) and at the end I also inserted a card memory with all the photos of the that day in one of the black holes I made in the drawing.

 And after so many hours transforming human horizontal time into vertical geological time, I started to wonder about the earth´s memory , And I started to wonder, for example, about  How does the earth forgets?, or How will the earth remember us?…So I ended my experiment listening to recordings like this:


5. Integrate my Research publication in the online project

The site will be also the container of my research publication in order to give the online project a much deeper layer and context but also to give to the online research publication a more playful and interactive structure, where the container is the content itself. So this website will be also a kind of interactive “research-essay” about the “Fear of forgetting and being forgotten in the digital age”.

I´m still thinking about how to integrate it but for example I´ve been thinking about using each month of the year in order to address one of the points of my research.

 You can see here a trial I have done in this link:



– Sam Budford

– Michael Naimark. ‘Field Recording Studies’

– Loop City

– Jussi Ängeslevä. Last Clock


– Recreating movement. Martin Hipoltsteiner


– Brendandawes. Cinema Redux


– Sam Budford

– Michael Naimark. ‘Field Recording Studies’

– Loop City

– Jussi Ängeslevä. Last Clock


– Recreating movement. Martin Hipoltsteiner


– Brendandawes. Cinema Redux


Artist Trevor Paglen suggests that the communication satellites in Earth’s orbit will become the ultimate ruins of the late 20th and early 21st centuries, outlasting everything else on our planet. His latest project, Last Pictures, imagines this geostationary space junk as the singular evidence of our civilization. Last Pictures is a time capsule that will be launched into space on the Soyuz this fall. Once in orbit, the collection of 100 images tasked with «representing modern history» in the universe will join thousands of other satellites in geosynchronous orbit. The images have been micro-etched onto a silicon disk inside a gold-plated case that will be placed, barnacle-like, on the outside of the communications satellite EchoStar XVI.

According to the Library of Congress, there are already four time capsules in space: «A pair of gold anodized aluminum plaques on board the 1972 Pioneer 10 and 1973 Pioneer 11 spacecraft, featuring a pictorial message—and the two Voyager Golden Records, containing sounds and images selected to portray the diversity of life and culture on Earth, have been attached to spacecraft for the possible benefit of space travelers in the distant future.» Adding to these, and the Last Pictures project, the proposed KEO satellite is set for launch sometime in 2013-2014 and is currently accepting messages that will be embarked onboard KEO via their website.

Research for the project, which includes a book of the same name, began in the Visiting Artists Program at MIT and continued as Paglen consulted with philosophers, scientists, engineers, artists and historians about what to include. The images included here are a selection from the disc. A display of the orbit-bound, gold-plated disc is planned at the Museum of Modern Art in New York City for fall 2012, and a partnership with The New York Public Library’s LIVE from the NYPL program will debut





The republican government in Spain decided to give economic support to this cinematographic project as it would show in film theatres around the world the heroic defence of the Second Republic and the need to have more resources and help from those foreign powers that did not want the triumph of fascism.

The filming began in the summer of 1938 and stopped at the beginning of the next year after Franco’s troops entered the city of Barcelona, forcing the production team to cease filming.

The war was lost, they had not finished in time. The oeuvre was left half finished. Faced with this scenario, André Malraux and Max Aub decide to finish it in Paris despite the opposition of French authorities and without any help from the republican government in exile. 

Once finished, in July 1939, the initial premise that justified the filming of ‘Espoir’ was lost, it wasn´t so urgent to show a defeated government than prevent the consequences of an imminent Second World War.

Much like what happened in Spain with Franco’s troops victory, the fierce German army occupation of France wiped out all plans of the film’s distribution and release. Despite the great efforts of the German troops to destroy the original negative and all the existing copies, one negative stored in another film’s case remained intact. Thereafter the copy was miraculously conserved at the Pathé laboratories in Paris.




















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The Pact of Forgetting

The Pact of Forgetting (Spanish: el pacto del olvido) is the Spanish political decision (by both the leftist and rightist parties)[citation needed] to avoid dealing with the legacy of Francoism after the 1975 death of General Francisco Franco, who had remained in power since the Spanish Civil War in 1936–1939. The Pact of Forgetting was an attempt to put the past behind them and concentrate on the future of Spain.[1]

In making a smooth transition from a dictatorship to a democracy, the pact ensured that there were no prosecutions for persons responsible for mass suffering. On the other hand, Francoist public memorials, such as the mausoleum of the Valley of the Fallen, fell into disuse for official occasions.[2] Also, the celebration of «Day of Victory» during the Franco era was changed to «Armed Forces Day» so respect was paid to both Nationalist and Republican parties of the Civil War.

The pact underpinned the transition to democracy of the 1970s and ensured that difficult questions about the recent past were suppressed for fear of endangering ‘national reconciliation’ and the restoration of liberal-democratic freedoms. Responsibility for the Spanish Civil War, and for the repression that followed, was not to be placed upon any particular social or political group. «In practice, this presupposed suppressing painful memories derived from the dictatorship’s division of the population into ‘victors’ and ‘vanquished’.[3] While many historians accept that the pact served a purpose at the time of transition,[4] there is more controversy as to whether it should still be adhered to. Paul Preston takes the view that Franco had time to impose his own version of history, which still prevents contemporary Spain from «looking upon its recent violent past in an open and honest way».[5]


The right to be forgotten is a concept discussed and put into practice in the European Union (EU) and Argentina since 2006.[1][2] The issue has arisen from desires of individuals to «determine the development of their life in an autonomous way, without being perpetually or periodically stigmatized as a consequence of a specific action performed in the past.»[3]:231 There has been controversy about the practicality of establishing a right to be forgotten to the status of an international human right in respect to access to information, due in part to the vagueness of current rulings attempting to implement such a right.[4] There are concerns about its impact on the right to freedom of expression, its interaction with the right to privacy, and whether creating a right to be forgotten would decrease the quality of the Internet through censorship and a rewriting of history,[5] and opposing concerns about problems such as revenge porn sites appearing in search engine listings for a person’s name, or references to petty crimes committed many years ago indefinitely remaining an unduly prominent part of a person’s Internet footprint.[6]