What happens to our everyday language in the digital sphere? How does ‘the post-digital condition’ change the world in which we think about ourselves and talk to one another? In Shadowbook: Writing Through the Digital 2014-2018, Miriam Rasch investigates these questions in five experimental essays and one exposition. From the way the smartphone molds the language of desire and friendship to the possibilities of writing a ‘spreadsheet novel’ – Shadowbook is a testimony to post-digital writing by way of writing. It salutes both the beauty of the web and what hides in the shadows. Even in the bright and shiny sphere of the digital, the dark side is never far off.
As the revolutions across the Arab world that came to a head in 2011 devolved into civil war and military coup, representation and history acquired a renewed and contested urgency. The capacities of the internet have enabled sharing and archiving in an unprecedented fashion. Yet, at the same time, these facilities institute a globally dispersed reinforcement and recalibration of power, turning memory and knowledge into commodified and copyrighted goods. In The Arab Archive: Mediated Memories and Digital Flows, activists, artists, filmmakers, producers, and scholars examine which images of struggle have been created, bought, sold, repurposed, denounced, and expunged. As a whole, these cultural productions constitute an archive whose formats are as diverse as digital repositories looked after by activists, found footage art documentaries, Facebook archive pages, art exhibits, doctoral research projects, and ‘controversial’ or ‘violent’ protest videos that are abruptly removed from YouTube at the click of a mouse by sub-contracted employees thousands of kilometers from where they were uploaded. The Arab Archive investigates the local, regional, and international forces that determine what materials, and therefore which pasts, we can access and remember, and, conversely, which pasts get erased and forgotten.
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