En 1995, el cinematógrafo cumplió cien años. A partir de esta fecha simbólica empezó una curiosa mutación: cambiaron los sistemas de producción, las formas de ver y el soporte, que pasó del celuloide a lo digital. Después del cine es una reflexión sobre dicha transformación, que no es únicamente tecnológica—la sustitución de la fotografía en movimiento por la imagen pixelada—, sino también cultural—puesto que la imagen digital ha redefinido la relación entre imagen y realidad en el mundo contemporáneo, el de la web 2.0—. En su recorrido el libro propone numerosos ejemplos: los blockbusters hollywoodienses que utilizan la imagen en 3D; la textura digital; los documentales rodados con cámaras de baja definición y las imágenes de la guerra de Irak colgadas en YouTube.
«History helps us understand the present and even to predict the future to certain extent. Given the huge amount of data about the past, we believe computer science will play an increasingly important role in historical studies, with computational history becoming an emerging interdisciplinary field of research. We attempt to study how the past is remembered through large scale text mining. We achieve this by first collecting a large dataset of news articles about different countries and analyzing the data using computational and statistical tools. We show that analysis of references to the past in news articles allows us to gain a lot of insight into the collective memories and societal views of different countries. Our work demonstrates how various computational tools can assist us in studying history by revealing interesting topics and hidden correlations. Our ultimate objective is to enhance history writing and evaluation with the help of algorithmic support».
DIGITAL TRAUMA (AND OTHER DIGITAL MEMORY DISORDERS)
DIGITAL TRAUMA (AND OTHER DIGITAL MEMORY DISORDERS)
DIGITAL TRAUMA (AND OTHER DIGITAL MEMORY DISORDERS)
DIGITAL TRAUMA (AND OTHER DIGITAL MEMORY DISORDERS)
What are the political, social and individual consequences of having a Digital Memory that is capable of “remembering” all we want?.
DIGITAL TRAUMA (AND OTHER DIGITAL MEMORY DISORDERS)
I want to research how the ubiquity and pervasive nature of digital technology is reshaping our view of our past, and therefore our identity. I wonder what are the effects of the shift from an analog to a digital construction of cultural memory and what the implications of those effects are.
DIGITAL TRAUMA (AND OTHER DIGITAL MEMORY DISORDERS)
Digital trauma in post-conflict societies
If we can access our past at any given moment, to what extent can we get rid of it and look ahead? What consequences do the access to a digital memory (including access to the words, images and sounds of the horrors of the past) have for post-conflict societies? Can a digital memory become a powerful tool to ignite more profound ethnic hate, violence and war?
Digital Funes, or the memory that cant forget.
Cameras and data storage is getting so small and cheap that documenting everything with photos and film has become the default position. But what are the consequences of this high documentation of our daily life on our society?
Digital Amnesia and the black box
What are the consequences of this perfect external memory which allows us to have such a clear recollection of our autobiographical memory? How can this high documentation contribute to individual traumas?. How does this “perfect” external memory affect and shape our internal memories? In which measure can digital memory delete our real memories and create a kind of “digital amnesia”?.
If we can access our past at any given moment, to what extent can we get rid of it and look ahead? What consequences do the access to a digital memory (including access to the words, images and sounds of the horrors of the past) have for post-conflict societies? Can a digital memory become a powerful tool to ignite more profound ethnic hate, violence and war?.
I´m interested in how the ubiquity and pervasive nature of digital technology is reshaping our view of our past, and therefore our identity. I wonder what are the effects of the shift from analog to digital on the construction of cultural memory and what are the implications of those effects?.
Method: All the images and sounds are the combination of the result from typing the words in Google search box.
I Recommend to watch this video in full screen mode with the volume very high and headphones to get the inmersive atmosphere. Don´t forget HD button on.
HARUN FAROCKI. SERIOUS GAMES, on view through January 18, 2015 at Hamburger Bahnhof, puts forward an alternative topology of media. Events of violence and war and revolution are not naturally occurring; they are produced, in part, by the apparatus of media. More precisely, these events are produced by workers acting on instruction, who are allowed (by the distancing effects of images, in part) to understand themselves as external observers rather than implicated parties.
