NODEM 2014 Proceedings

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Thresholds of Technological Remembering image into the endlessly plastic and pliable, a shift from the a witnessing of the real associated with the traditional analogue chemical photograph. Yet this new situation delivers a trace of the moment for anyone walking along the waterfront with their i-phone, to mark a real or imagined journey. These situations produce levels of accessibility that some traditional archives have embraced more seamlessly than others, migrating Sievers’ and Pratt’s recording practices to instant download and locatability for research and to the finger-tip access of the mobile phone globally. The situation that produces this amalgam demonstrates what Lev Manovich has referred to as the shift in visual culture from a photographic, to a malleable painterly digital medium with animation practice at its core. (Manovich, 2001, p. 302) This is a flexibility demonstrated by the annotated Google Map, an example of Flusser’s ‘technical image’. (Ströhl, 2004, p. xxiii). For Flusser the means of constructing these meaningful surfaces are rendered invisible, creating a form of amnesia in its audience requiring analysis: The technical images currently all around us are in the process of magically re-structuring our ‘reality’ and turning it into a ‘global image scenario’. Essentially this is a question of ‘amnesia’. Human beings forget that they created the images in order to orientate themselves in the world. Since they are no longer able to decode them, their lives become a function of their own images: Imagination has turned to hallucination.’ (Flusser, 2000, p. 10) … any criticism of technical images must be aimed at an elucidation of its inner workings. As long as there is no way of engaging in such criticism of technical images, we shall remain illiterate. (Flusser, 2000, p. 16) My rationale in identifying the personal histories embedded in Sievers’ and Pratt’s images, and suggesting that these can be retrieved a-historically through their texture, form and structure, returns to Flusser’s call to elucidate the technical image’s inner workings and essentially incorporates McLuhan’s insight on the primacy of the medium over its content. Flusser’s ‘global image scenario’ is not as utopian as Marshal McLuhan’s 1960s manifestation of a ‘Global Village’, incorporating the insights of migrant displacement that Rmadic identifies in Sievers’ photographs. McLuhan’s ‘Age of Anxiety’ (McLuhan, 1964, p. 12), brought on by electric speed, and evident in the mobility performed by Pratt’s heroic engagement with the machine, becomes for Flusser a problem of hallucination and amnesia, of forgetting, which Demetrious’s oral remembering valiantly attempt to counter. For Flusser, the experience of displacement, a dissociation experienced directly and viscerally in real physical migration, which grounds the migrant’s experience, is now experienced by all through the digital hyper-mobility of capital and media, bringing about a preoccupation with surface and a proliferation of technical images that communicate concepts rather than phenomena and events (Flusser, 2003), a more ambiguous reincarnation of McLuhan’s ‘The Medium is the Message’. What remains embedded in the seamless transitions to digitized archives is the implicit aesthetic trace fashioned by the recording devices of each historic period. Within the expanded malleable aesthetic fields enabled by digital technologies, named by Flusser as ‘technical images’, the possibility emerges for the image to reflect directly the flawed but real processes of remembering, which for Walker includes disremembering, identifying forces operating in the complex narratives of daily life, that migrated both Pratt and Sievers to Australia. Does this new situation enable the archive to communicate a more “accurate” view of the past? Or is this question merely a trace of a way of critical thinking no longer available in our new technological situation? This re-search suggests that it is a bit of both. NODEM 2014 Conference & Expo 82
Thresholds of Technological Remembering Bibliography Carter, Paul. (1992) Living in a New Country: History, Travelling and Language. London and Boston: Faber and Faber, 1992. Ennis, Helen. (1997) “Blue Hydrangeas: Four Emigré Photographers”, In Emigré Artists in Australia 1930-1960, edited by Roger Butler, 109-18. Canberra: National Gallery of Australia. Flusser, Vilem. (2003) The Freedom of the Migrant: Objections to Nationalism. (ed) Anke Finger. University of Illinois Press. Flusser, Vilem. (2000) Towards A Philosophy of Photography. London: Reaktion. Manovich, Lev. (2001) The Language of New Media. Cambridge: MIT Press. Mansell, Ken. (2013) “Boyles Football Photos.” Accessed June 15, 2014. http://boylesfootballphotos.net.au/tiki-read_article. php?articleId=33 McLuhan, Marshall. (1964) Understanding Media: The Extensions of Man. New York: Signet. Rmandic, Dunja. (2007) “Wolfgang Sievers and the Revisionism of Australian Migrant Art”, emaj, no.2, 1-9. Ströhl, Andreas. (ed.) (2004) Vilem Flusser: Writings. Minneapolis: University of Minnesota Press, Walker, Janet. (2005) Trauma Cinema: Documenting Incest and the Holocaust. Berkeley: University of California Press. Zuker, David and Barry Jones. (2007) “Titan’s Lens and Moral Compass Enlightened All.” The Age, August 17. NODEM 2014 Conference & Expo 83
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Engaging Spaces Interpretation, Des
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Welcome to the NODEM 2014 Conferenc
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Editorial board Andrea Nanetti, Sha
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Parallel Exhibits: Combining Physic
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TACTEC, Transforming Art and Cultur
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Authenticity and Authorship: The Ch
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Confabulated Architecture Findings
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Exhibiting Fashion: Museums as Myth
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The Exquisite Cabinet: An Experimen
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The Exquisite Cabinet: An Experimen
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Wonderful Stories on Digital Device
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Mobile Technology and Museum Educat
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Mobile Solutions and the Museum Exp
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Domus: An On-Gallery Digital Museum
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Innovative Museum Exhibits: Telling
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Materials Story of Sir John Soane
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Materials Story of Sir John Soane
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Spiritual Wonder Project: Crossing
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A Case Study to Make Use of Cross-c
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Service Design for a Unique Experie
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Multi-narrative Serious Game Design
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Developing Awareness in Contemporar
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NODEM 2014 Conference & Expo Engagi
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NODEM 2014 Proceedings

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