Abstract
In this paper, we focus on one specific participatory installation developed for an exhibition in Aarhus (Denmark) by the Museum of Random Memory, a series of arts-based, public-facing workshops and interventions. The multichannel video installation experimented with how one memory (Trine's) can be represented in three very different ways, through algorithmic processes. We describe how this experiment troubles the everyday (mistaken) assumptions that digital archiving naturally includes the necessary codecs for future decoding of digital artifacts. We discuss what's at stake in critical (theory) discussions of data practices. Through this case, we offer an argument that from an ethical as well as epistemological perspective critical data studies can't be separated from an understanding of data as lived experience.
Highlights
In recent years, Google Photos and Apple Memories made headlines by promising to cut through the clutter of people’s big data by automatically curating our most meaningful photos and videos
We focus on Memory Glitch, a specific Museum of Random Memory (MoRM) installation developed for exhibition at the Affects, Interfaces, Events conference, August 28–30, 2018 in Aarhus, Denmark
The multi-channel video installation experimented with how the memory of one person, Trine, can be decoded and rendered in three very different ways, through algorithmic processes
Summary
Google Photos and Apple Memories made headlines by promising to cut through the clutter of people’s big data by automatically curating our most meaningful photos and videos. The multi-channel video installation experimented with how the memory of one person, Trine, can be decoded and rendered in three very different ways, through algorithmic processes.
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