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Capturing online
cultures, or storytelling
as method
ANNET DEKKER, UNIVERSITEIT VAN AMSTERDAM
Thomas Cheneseau
Jan Robert Leegte, Remake of Robert Smithson’s Spiral Jetty in Minecraft, 2013
Infinimine[r]craft or,
@netwurker modding
Jan Robert Leegte modding Robert Smithson
Erica Scourti, Dark Archives, 2015.
http://ericascourti.com
In the absence of a common heritage framework, the decision to keep this work for the future cannot be traced to one
single moment in time; the history of the work shows that its prolongation had to be negotiated again and again.
Vivian van Saaze, The Ethics and Politics of documentation. On Continuity and Change in the Work of Robert Smithson, 2013
Robert Smithson, Spiral Hill/Broken Circle,
1971-present
Digital Digging, Greenhills Garden Centre

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Annet Dekker: Capturing Online Cultures Storytelling as a Method

Editor's Notes

  1. Erica’s Dark Archives shows how online content is never stable – at least when using automated editing systems or even certain platforms. Content moves between ‘light’ and ‘dark’ archival systems, sometimes appearing, while at other times it may present itself in a completely changed context. And even though the content might stay the same, it is always moving. It could be argued that any collection, or archive, has potentially limitless constellations within it, and the meaning of it changes depending on the context in which it is used. However, with semi-automatic algorithms an additional, unfinished and semi-fictional quality enters into the equation that is unknown, unpredictable and invisible. Dark Archives points to the issues that arise when image archives can be parsed, and potentially monetised, once in the hands of corporate platforms. It also explores how new technologies inscribe knowledge in different ways and how they record and archive the lives of their users. So, how can we re-assert agency and control when creating online performative or dynamic archives. One possibility I explored in online archival / art project was to see how archives can be used as spaces that are both sources for information and provide possibilities for new enactments, projects or performances. In a sense following Beatrice von Bismarck’s proposition of the curatorial that