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Digitale Fotografien: für einen öffentlichen Gedächtnisraum

Merzeau, Louise

Zeitschrift für Medien- und Kulturforschung, Bd. 1 (2010), Iss. 1: S. 63–75

3 Citations (CrossRef)

Zusätzliche Informationen

Bibliografische Daten

Merzeau, Louise

Cited By

  1. Introduction: Double Intentionality

    Summa, Michela | Klein, Martin | Schmidt, Philipp

    Topoi, Bd. 41 (2022), Heft 1 S.93

    https://doi.org/10.1007/s11245-021-09786-7 [Citations: 2]
  2. Phenomenological explanation: towards a methodological integration in phenomenological psychopathology

    Summa, Michela

    Phenomenology and the Cognitive Sciences, Bd. 22 (2023), Heft 3 S.719

    https://doi.org/10.1007/s11097-022-09828-4 [Citations: 4]
  3. Striving, Willing, and Acting in Pfänder and Husserl

    Mertens, Karl

    Human Studies, Bd. (2024), Heft

    https://doi.org/10.1007/s10746-024-09720-x [Citations: 0]

Abstract

The modalities of the production, archiving, distribution (marketing) and societal assimilation of digital photography are producing a new economy of form and perspective. When digital photos become physical surfaces and blogs are organized into active archives, the collective public memory is transformed in the tension between two divergent poles: Privatization and standardization of photomemory in the photo data banks of large agencies on one hand, and, on the other hand rhizomatic interlacing, proliferative network memory, which, during this process, evolves into a virtual, imaginary museum. Digital photos, at this point, participate in the production of the political entity.

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