Archive et mémoire : le numérique et les mnémophores

Digital technology reconfigures the organization and status of archives. Immersed in the eternal present of the technological up-to-dateness necessary for their consultation, digital archives potentially no longer bear the marks of time, whereas they do show the past. They entail a new appetence, ba...
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Autor*in:	Bruno Bachimont [verfasserIn]

Format:	E-Artikel
Sprache:	Englisch ; Französisch

Erschienen:	2021

Schlagwörter:	writing digital time mediation

Übergeordnetes Werk:	In: Signata - Université de liège, 2020, 12(2021)
Übergeordnetes Werk:	volume:12 ; year:2021

Links:	Link aufrufen Link aufrufen Link aufrufen Journal toc Journal toc

DOI / URN:	10.4000/signata.2980

Katalog-ID:	DOAJ05300096X

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author	Bruno Bachimont
spellingShingle	Bruno Bachimont misc writing misc digital misc time misc mediation misc Language and Literature misc P Archive et mémoire : le numérique et les mnémophores
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topic_title	Archive et mémoire : le numérique et les mnémophores writing digital time mediation
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title	Archive et mémoire : le numérique et les mnémophores
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title_full	Archive et mémoire : le numérique et les mnémophores
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title_sort	archive et mémoire : le numérique et les mnémophores
title_auth	Archive et mémoire : le numérique et les mnémophores
abstract	Digital technology reconfigures the organization and status of archives. Immersed in the eternal present of the technological up-to-dateness necessary for their consultation, digital archives potentially no longer bear the marks of time, whereas they do show the past. They entail a new appetence, based on the communicative uses of the moment. But how then to give them their sense as archives, and how to restore the temporality which is their own? The challenge is to allow what we call “historical empathy” without falling into psychological anachronism. We argue here that the mediatization of digital audiovisual archives must allow us to feel concerned, with the concessions no doubt necessary to the technology and aesthetics of the moment, while perceiving the strangeness of the contents and the forever bygone nature of this past. It is therefore a particular critical hermeneutic which must be built, where mediation must show a past that technology displays in a permanent and persistent contemporaneity.
abstractGer	Digital technology reconfigures the organization and status of archives. Immersed in the eternal present of the technological up-to-dateness necessary for their consultation, digital archives potentially no longer bear the marks of time, whereas they do show the past. They entail a new appetence, based on the communicative uses of the moment. But how then to give them their sense as archives, and how to restore the temporality which is their own? The challenge is to allow what we call “historical empathy” without falling into psychological anachronism. We argue here that the mediatization of digital audiovisual archives must allow us to feel concerned, with the concessions no doubt necessary to the technology and aesthetics of the moment, while perceiving the strangeness of the contents and the forever bygone nature of this past. It is therefore a particular critical hermeneutic which must be built, where mediation must show a past that technology displays in a permanent and persistent contemporaneity.
abstract_unstemmed	Digital technology reconfigures the organization and status of archives. Immersed in the eternal present of the technological up-to-dateness necessary for their consultation, digital archives potentially no longer bear the marks of time, whereas they do show the past. They entail a new appetence, based on the communicative uses of the moment. But how then to give them their sense as archives, and how to restore the temporality which is their own? The challenge is to allow what we call “historical empathy” without falling into psychological anachronism. We argue here that the mediatization of digital audiovisual archives must allow us to feel concerned, with the concessions no doubt necessary to the technology and aesthetics of the moment, while perceiving the strangeness of the contents and the forever bygone nature of this past. It is therefore a particular critical hermeneutic which must be built, where mediation must show a past that technology displays in a permanent and persistent contemporaneity.
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title_short	Archive et mémoire : le numérique et les mnémophores
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