Questions about the Digital Baroque…
A key difference between human (i.e. personal) memory and the “memory” of an archival mediatic object is that personal memory is fully furnished with context, whereas mediatic memory is almost always denuded of its original context (e.g. this). What are the various possibilities and dangers of this ahistorical and, arguably, superficial mediatic memory?
Does the Baroque characteristic of “pil[ing] up fragments ceaselessly, without any strict idea of a goal” (Benjamin, quoted in Murray 2008, 7) imply that certain fragments will be buried and lost forever (the amnesia of the Baroque)? What happens in the event of a landslide of these fragments—what would that look like, and what would the consequences be?