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ment introduced by technical media is completely grounded

speculative scenarios

in physical transactions, even if those might escape human senses. Hence, Demarinis’ observation: perhaps memory is only a special case of delay, and in this context, computer memory has to start with the electromagnetic relay: ‘a coil of wire, energized by an electric current, generates a

5 Demarinis (2011:115).

magnetic field and pulls a bar of iron toward it.’5

In the article ‘Zombie Media’ that you wrote with Garnet Hertz and in your book Insect Media you refer a few times to an expanded idea of memory.6 You state in the article that ‘Media in its various layers embodies memory: not only human memory, but also the memory of things, of objects, of chemicals and of circuits’. Could you explain how memory functions in this wider context, and if it could be a useful strategy for organisations to consider when thinking about their archive? 6   We consider memory as an integral feature of individual Garnet Hertz and Jussi Parikka (2012) Zombie Media: Circuit human and social identity. Memory structures our being Bending Media Archaeology into an Art Method. In Leonardo, and our activities. But when it comes to time, the quesvol. 45, no. 5, pp. 424–30. Jussi tion of duration expands this human-centred perspective: Parikka (2010) Insect Media: An Archaeology of Animals memory is a duration that can also include non-human and Technology. Minneapolis: things. Non-humans have also durations, and often very University of Minnesota.

different sets of durations. This is not only a realisation that non-human philosophy has invented, history consists of

7 Braudel, Fernand (1980) On History, translated by Sarah Matthews. London: Weidenfeld and Nicolson.

different durations – from short to long term – that relate to non-humans, such as geographical formations.7 Hence it is interesting for museums to consider how to exhibit non-human modes of time and duration to be able to pitch this entanglement of times that are so disparate: the slowness of geology and ecological moments compared to human lived experience, even if they are completely intertwined. We are involved with similar issues when it comes to technical media, and preserving them. What is the specific temporality of the machine – not just its relation to us – that we need to attend to? Ernst speaks about the ‘Eigenzeit’,

Speculative Scenarios — Edited by Annet Dekker  

There is a growing understanding of the use of technological tools for dissemination or mediation in the museum, but artistic experiences th...

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