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Spara som favorit. Skickas inom vardagar. This groundbreaking and truly interdisciplinary collection of essays examines how digital media technologies require us to rethink established conceptualisations of human memory in terms of its discourses, forms and practices. Passar bra ihop. Media and Memory Joanne Garde-Hansen. Recensioner i media. Bloggat om Save As Digital Memories.

The ptlone was also used Ior personal digital souvenirs, or re inders ol a irDage showed lrim escapi g a smoke-fillcd Northern Line lltderground place captured as part of narrativising tlte self or to bc shated as a gift. A1tie, An analysis ol the posting strings to the bloS of the individual.

As Callrpbell and Park argue, 'in esserlce, the boundaries viduals, as well as to rrews orgarrisatiorrs. Thus, within half an Ilour of between thc private alld tlle public ate colrstaIrtly bcing negotiatecl' the ilnage being posted to Alfie's blog, contributors had sent it on to Oarnpbell and lark, Jan Assl]talr's diflerentiation between corrr- Associated lress a nd Sky Ncws. It appcarcd on thc Skv Wcbsitc bv In 'l'lre iolage is then serrt on to LiveJourna l.

Saw this pic orr livejour rral. C ver tile next hou ive see postings from the lJS, Canada, tained nernor ,', that is, into'cLrlturalntnemotccll]lique' Assntall, Spain and the Netherlands with peoJrle accessing the image from flickr, cited irr Levv and Sz aider, , l. Mobile pl ones arc the wearal le thc BBC and thc Guotdi l nervsllaper. The followiirg dat bloggers in link betwccil the private and the public, witlr rnernobilia acting as both Australja, Tahiti and llonolukr are respo ding to the irnage as well as communicative and cultural mcmory.

Nlemobilia are a rnelrory forrn people florn Algentina, Nlexicio and Brazil see Reading, TIre [irst is a dialogic Hoq,evcr, it is irnportant not to ovcr elnplrasise the differeuces ltcrc or polylogic relationship to the sclf or ,r ; the second, a range o1' ntobili- frorlr oldej nrernorv lorllrs. Alr jrDporta t considcratioll witlr any'new ties 1 1 niobilisdthrs enabling thc captrrring, managing and sharing of lncdia'is its relatioo 1o lhc'old'. The lthone enaltles a pcrsonal, lfearablc arclrivc of the everydav, that rre can edit arld archive, use on 'llle digital rcvol rtio sllould l e tltought oI as olle n]orc elet teltt tl e nlove to rernind ourselves or to sllare or mobilise at anytine.

In this addcd to a conrplex rnix, fully coexistirrg tvitll oldcr colnponents serse, tlle plrorre is a porLable slloebox, a wearable album and gallcrt cnclgctic and rllaterial , not all of wlticlr have been Left ir tlrc past. De Lauda, At the same time, tlrolr8h, thc mobilc phonc is clearl,V not an album, Altlrouglr va n Diik in M liLlltl Mc kn ics ir d 1 1!

Shc argues that tlte tefln 'mcditted nlen o. Somc gcncier pattcrrrs of ccll tified here of memobilia, memories captured via mobile phones are phone usagc', So. Acccssed 2lu ly These digital l.

Katz ed. But in both cases, they no longer quite [it with analogue rnediated iyc, Lisa a 'The Impact of Mobile talr rra fh on es on pcrsonal ptrotograph ic rnen ory forrns, since tlrey are sirnultarreously arclrived aDd travel- I'ta,'r'..

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Univcrsity of Sydrrcy. Accessed 2B April They allow for a wear- 1 llopper, P:rul Und lfiltklitts. Witlr its features of the diak gic me, ils rnobilities :ont urti. Ito, M.

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Alfic, Dcrrncn 'l,on k n Undergrourrd lkrnbing'liapped', in Alfie's lUoblog. I ressl. Acccsscd 25 ApriI Kindbcrg, l', Spasojcvic, L. Thr Risa ol'tlt I ctsottdl :oitli]tunialttid? Soai ,l1,. OO Accessed 3 March u. Huntatt llodf: T? E7 Acccsscd 9. Junc E. Univclsity Prcss.

Ebook Save As Digital Memories

Accessecl :l March E. Acccsscd on 2lLrly Accessed I Marrh Katz ancl Raimondit Ricci i ljds rv. I0:] James U. Lorrd rr Scho l of! Acccsricd oD 2 Juli, Ithcingold, floward 2 X 2 Sr,. IlLrbinstcin, l aniel, and Sluis, Katrjna 'A l. MappinS the Nctworkcd I'll'a e', I'hotostulhic. Acccssed 1 Mi[ch Irostcd lllinc 3 f cccmbcr pp.

Save As Digital Memories - Enlighten: Publications

Stccnson, MollV-WriSllt, alrd [ onner,. Ncw llr nswick: l'rir saction l ublishers. Acccsscd ,]0 Scptcr l er Urr ', Joh Her research interests include Introduction audiences and interactivity, cultural consumption and various forms of digital communication. She has published across a number of fields including Media, Performance studies and Museology. He has published articles and book chapters on intermedia theory, digital arts and contemporary cinema. Her recent publications include Cyberpop: Digital Lifestyles and Commodity Culture Routledge, and a series of articles on science fiction films and new media This book is about how we embody, create and are emplaced within technologies.

As our lives have become increasingly digitised, so digital memories become us. With our mobile camera phones we University, UK. She is the author of numerous books and articles on capture the ordinary and mundane as well as the traumatic and news- memory and digital memory: including The Social Inheritance of the worthy, slipping in our pocket an archive of texts, photos and contacts. She We post online conversations and thoughts that become memories on is a ioint editor of the international journ al Media, Culture and Society.

Our movements, actions and preferences in space-time are of memoty, place and scale through video and digital philosophy. He is routinely recorded and traceable via Google, mobile networks, surveil- currently a lecture in video and media theory in the School of Creative lance cameras, and data stored by transport systems, at work-places and Media at RMIT University, Australia. Even otlr clothes are 'intelligently' tagged.

Unlike in previous eras, where keeping the past was an expensive business with access provided often for only an elite, digital media tech- nologies provide cheap data storage, ease in terms of the searching and retrieval of data - with digital and mobile networks providing unprece- dented global accessibility - and participation in the creation of mem- ories. In these ways, digital technologies might seem to be changing memory by reversing the age-old default of human societies, which is to forget Mayer-schonberger, 2OO7. The digital suggests that we may need to rethink how we conceive of mem ory; that we are changing what we consider to be the past; that the act of recall, of recollection and of remembering is changing in itself.

Past moments, places, people, events, encounters and actions all lic and academic taxonomies and typologies of memory, in an attempt seem to swirl around and contribute to our self-identity - how we see to differentiate or compare the realms of the personal and the pub- ourselves - sometimes available to us in an ordered sense of biography lic, the everyday and the cultural: to identify and comprehend their stretching over chronological time, but more often haphazard and dis- intersections and to explore memory's functions and dysfunctions.

For ordered. Is memory then the 'stuff' somehow stored in our minds and example, Jan Assman , pp.

L contrasts the dynamics of accumulated over years, or is it the act and time of recollection itself, so 'communicative memory' or 'everyday memory' with the fixity of 'cul- when we routinely speak of memory we actually mean remembering - a tural memory'; others focus on an 'experiential' form of engagement functioil, a process, an act?

In this way memory can occur only in the with a past that reaches beyond generational memories this is particu- present and ever-new moments in which we retrieve aspects of our past. Moreover, Whether explicit or implicit in the accounting of the nature, forms every time we represent an aspect of the past to ourselves we inevitably and consequences of contemporary memory, it is media and their associ- change it.

In terms consider that every time it is remade in the present it becomes 'active'. Moreover, since its widespread intro- produce a 'reactivated' site of consciousness: 'Remembering is not the duction, on the one hand, television has seemingly tightened its grip re-excitation of innumerable fixed, lifeless and fragmentary traces. It on defining and redefining collective memories for entire generations, is an imaginative reconstruction, or construction, built out of the rela- especially in relation to events seen as momentous or historic, and for tion of our attitude towards a whole active mass of organised past reac- its relentless commemorative 'news' and documentary programming.

It is not a question of the See,for example, the growing literature on so-called'flashbulb memory' past itself as an entity as such, but, 'our attitude towards' it and our Brown and Kulik, L; Neisser, ; Pennebaker et vI. So, crucially, individual memory is On the other hand, television as a shaper of remembering and forgetting dynamic, imaginative and directed in and from the present. Yet, memories of culture - the medium seems inimical to the very notion of memory' also require distinct social frameworks: patterned ways of framing the Shandler, , p.