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200 00$aAiring the past $einquiries into digital memories /$fedited by Nuria Rodriguez Ortega, Fatima Diez-Platas, Seppo Kuivakari
210  1$aOxford, United Kingdom :$cInter-Disciplinary Press,$d[2016]
210  4$d©2016
215   $a1 online resource
311   $a90-04-37037-4 
320   $aIncludes bibliographical references and index.
327   $tPreliminary Material /$rNuria Rodríguez Ortega , Fátima Díez-Platas and Seppo Kuivakari -- $tSeeing the Unseen: The Politics and Privileges of Invisibility and Opacity in the Digital Archive /$rRhiannon S. Bettivia -- $tRemembering Everything? Techno-Optimisms and Digital Debris /$rChloé S. Georas -- $tMapping Testimonies: The Interview Archive ?Forced Labor 1939-1945? /$rCord Pagenstecher -- $tThe Rise of Online Social Networks in Greece: The Case of Facebook /$rEmmanouil Melissourgakis -- $tUrban Memory and Mobility: The Designing of a City Museum in Greece /$rEleni Sideri -- $tUnsealing Simulation and the Allegories of Construction /$rSeppo Kuivakari -- $tTracking and Sharing: Performance Art, Web and Documentation /$rRiikka Niemelä -- $tPoetics of Memory: Invention and Discovery Using Metadata to Create Cultural Memories in Programmable Environments /$rCarlos Henrique Rezende Falci -- $tStructuralist Content Design in the Multi-Touch Museum Environment /$rJaroslav Vancat and Daniel Riha -- $tHow Can Knowledge Engineering (KE) Open New Interpretations in the Field of Art Theory? A Case Study Based on 16th and 17th Art-Theoretical Production /$rNuria Rodríguez-Ortega and José Pino Díaz -- $tTeaching Ancient Egyptian Art Online: Experiences and Proposals from U.N.E.D., Spain /$rInmaculada Vivas Sáinz.
330   $aThe articles comprised in this anthology are attempting to discuss the rapid change of digital media technologies and the way they impetus our understanding of history and memory. History should not be regarded only as an object of research. It is also a subject, performing and registering agency. The aim of the articles will not be to cover the whole range of mediated histories, but to claim fresh insights for debate and discovery in terms of digital memories. In this sense, contributions for this volume will leave the ?doors of perception? (Aldous Huxley) wide open and sketch the impact of media to different cultural practices, identity work and preservation of history, as well as the examination of it. Likewise, divergence of the papers at hand indicates that the concept ?digital? ought to be recognized as institutional practices, methodological tools, or as content providers for memories.
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