PROGRAM TWO: MEMORY
Digital reliance on the expanse of virtual memory is accompanied by the frequent receipt of computer messages indicating “memory errors.” Errors’ interruption of the digital reserves of information accentuates what Thomas Hobbes lamented long ago as the fragility or “decaying sense” of memory. Error and loss have become so naturalized as a constitutive element of computer interaction that users are encouraged by software designers to displace their anxieties over the fragility of memory with their resigned recognition of error as but a predetermined digital code (error type 11...). This Program capitalizes on the tenuous memory reserves of digital representation to reinvest the complex affect of the personal in the fragile fabrics of the social. It aligns the cultural importance of memory with the inherent masochism of its fragility. While the affect of instability is offset by the sure ballast of historical imagery and cultural narrative, it is simultaneously fostered and amplified by the very representational procedures that sustain both narration and visualization: imagination, fantasy, and fiction, as well as the social categories of identity, mass culture, and religious heritage that lend to memory its shape and context.
ad319 (Nan GOGGIN, Joseph SQUIER, Kathleen CHMELEWSKI), Body, Space, Memory, 1997 (USA)
Christina CASANOVA, Let's Tell Lies, 1999 (Spain )
Megan HEYWARD, I Am A Singer, 1997 (Australia)
Adriene JENIK, Mauve Desert, 1997 (USA)
Arlene STAMP, Modern Mother, (Canada)