Abstract
In today’s abundance of media technological devices we engage in capturing ever more detailed aspects of everyday lives. Due to the constant state of connectivity with human and non-human actors of the network society, the boundaries between voluntary and involuntary capture and archiving become ever more blurred. In the context of ubiquitous technologies we have become at once micro-archivists and micro-archives, or, differently put, subjects and objects of pervasively radiating micro-temporal of the arts in relation to Bernard of capture, mediation and storage of our digitized life-bits. In this chapter, the author problematizes this state of the arts in relation to Bernard Stiegler’s concepts of mnemotechniques and mnemotechnologies. The transition from one to the other can be seen as a mutation from low-tech manual techniques of handling one’s memory to large-scale, automated mnemonic industries which, while providing immediate solutions for capturing and organizing the flows of memories, simultaneously benefit from them economically. The author argues that mnemotechnologies concerned with capturing have been eroding the use and significance of the term “recording”. He demonstrates this erosion along the trajectory from amateur practices of snap-shooting (enabled first by mass-produced cameras such as the Brownie) to ubiquitous computing of digital snapshots such as Facebook. What follows this discussion is a brief turn toward counter-practices that attempt to disrupt this current techno-political condition. Drawing on the concept of the post-digital, which through its call for a return to craft seems to correspond with the notion of mnemotechnique, as an epilogue to this chapter, the author speculates on alternative itineraries for how capturing and archiving practices can be re-invented today.
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Notes
- 1.
Online Etymology Dictionary, accessed January 10, 2015, http://www.etymonline.com
- 2.
Online Etymology Dictionary, accessed January 10, 2015, http://www.etymonline.com/
- 3.
As Wikileaks revealed, the National Security Agency, acting in collaboration with the United Kingdom’s M15, conveyed a program called Weeping Angel which placed the target TV in a so called “Fake Off” mode while using the internet connection, convincing the owner that the TV is off when it was actually continuously on. In “Fake Off” mode, the TV begins to operate as a bug, recording conversations in the room and sending them over the internet to a covert CIA server. Wikileaks, accessed August 21, 2017, https://wikileaks.org/ciav7p1/cms/page_12353643.html
- 4.
Kit Smith, “Marketing: 47 Facebook Statistics for 2016,” brandwatch, May 12, 2016. https://www.brandwatch.com/blog/47-facebook-statistics-2016/
- 5.
Mary Lister, “33 Mind-Blogging Instagram Stats & Facts for 2017,” The WordStream Blog, August 21, 2017. http://www.wordstream.com/blog/ws/2017/04/20/instagram-statistics
- 6.
Craig Smith, “135 Amazing Snapchat Statistics and Facts (September 2017),” DMR, October 24, 2017. https://expandedramblings.com/index.php/snapchat-statistics/#.WdX589FdLZt
- 7.
Rebecca Smithers, “Terms and Conditions: Not Reading the Small Print Can Mean Big Problems,” Guardian, May 11, 2011. https://www.theguardian.com/money/2011/may/11/terms-conditions-small-print-big-problems
- 8.
The full list of datasets of interest to Facebook can be found here: http://europe-v-facebook.org/EN/Data_Pool/data_pool.html. Accessed May 29, 2017.
- 9.
https://labs.rs/en/. Accessed July 2, 2017.
- 10.
Data according to Samuel Gibbs, “Facebook ‘tracks all visitors, breaching EU law,’” Guardian, March 31, 2015. https://www.theguardian.com/technology/2015/mar/31/facebook-tracks-all-visitors-breaching-eu-law-report
- 11.
Natasha Singer, “Mapping, and Sharing, the Consumer Genome,” New York Times, June 16, 2012. http://www.nytimes.com/2012/06/17/technology/acxiom-the-quiet-giant-of-consumer-database-marketing.html?_r=0
- 12.
See Smolicki (2015) for some of my early observations related to the experiment with wearing the device over an extended period of time.
- 13.
From the online article “What is Post-Digital?”. http://www.aprja.net/?p=1318. Accessed January 22, 2016.
- 14.
The term “post-digital” has not eluded appropriation by capitalist consumer culture; more specifically, by the design, advertising, and consulting industries. See for instance Lund (2015).
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Acknowledgments
I would like to thank my PhD supervisors Maria Hellström Reimer and Ulrika Sjöberg from the School of Arts and Communication at Malmö University. Their generous and inspiring comments and critique helped shape this text, which draws on my recently published doctoral thesis.
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Smolicki, J. (2018). You Press the Button, We Do the Rest. Personal Archiving in Capture Culture. In: Romele, A., Terrone, E. (eds) Towards a Philosophy of Digital Media. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-75759-9_5
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