NOSTALGIA FOR A DIGITAL OBJECT
PLENARY SESSION II
Nostalgia for a Digital Object*
Regrets on the Quickening of QuickTime
Whenever I watch QuickTime “movies”, I find myself drawn into someone else’s – and
my computer’s – memory. Faced with their strange collections, moving collages, and
juxtapositions of image-objects whose half-life I can barely re-member, I tend to drift into
a reverie not quite my own. Indeed, the form usually evokes from me the kind of tem-
poral nostalgia and spatial intensity I feel not at the movies but
) Cultures of ambivalence: An investigation of college students’ uses of the camera phone and Cyworld’s Mini-Hompy. Knowledge, Technology & Policy, 22(3), 173-184. Steadman, Philip (2005) Allegory, realism, and Vermeer’s use of the camera obscura. Early Science & Medicine, 10(2), 287-313. Tagg, John (1988) The burden of representation. Essays on photographies and histories. London: Macmillan. West, Nancy Martha (2000) Kodak and the lens of nostalgia. Charlottesville, VA, and London: University of Virginia Press. Wolf, Janet (2012) After cultural theory: The power of images
tentatively belonging to four generations. In his analysis of these interviews, he suggests that passion and nostalgia are produced in relation to childhood memories and also in the borderland of shared intergenerational experience ( Bolin 2014 , 2015 ). My study, however, is more limited, with a focus only on radio and television memories. Nevertheless, in accordance with Bolin, I will highlight one component of the generational experience that is strongly related to media, namely, the intimate and often passionate relations that are produced. What sort of passionate
generations within the family and beyond (RQ3). Method Media biographies combine a variety of data collecting strategies about media practices in different stages of the life cycle. Foremost, they are based on biographical interviews. They are an invaluable method for approaching media use in the lifeworld and how it changes over time. The media biographies addressed different life stages for all of the participants and were coded for:
– stability and change of ‘generation units’ in the life course – patterns of media use in the family and with social peers – nostalgia for
members ( Figure 4 ). Figure 4 Perceived responsibility for published visual material (per cent) Comments: Multiple choice question, i.e. the figures do not sum up to 100. The number of respondents is 78 (both photographers and photo editors are included). Increased competition on the field (RQ4) The majority of respondents claimed that the prestige and financial situation of photo-journalists has been lowered during the past decade, and in many cases, they also expressed a certain nostalgia for ‘the good old days’. Similar to Yaschur’s (2011) findings, they reported
consume the regenerative nostalgia of the city. This book
shows that these mediatized memory practices become
essential for the city and tie in with how the municipal
government (in tandem with international scriptings of
the city in for example films and travel journalism) is
currently theming Shanghai by situating memories of
futures past and visions for the future in a coherent nar-
rative and sensory-emotive realm of experience.
Media Talk and Political Elections in
Europe and America
Mats Ekström & Andrew Tolson (red.), Palgrave,
2013. 256 s. ISBN
in the commentaries. Local groups for buying/selling things privately often draw the largest number of members and updates. They are the new local market. • Groups for local nostalgia are common, like “you know you are from Helsingborg if you…” Often many members, but a low frequency of updates. Local campaigns often use Facebook groups as organisers and platforms. Several such groups were found promoting town gardening and special roads for bicycles. Local associations have their own groups as a place to share information and report on activity in the organisation
reflect on the reworking of recorded moments. In this way, the scroll back method uses the Facebook timeline as a memory object and, through collaborative interrogation of it, confronts the participant with earlier versions of his or her mediatized life through memory objects. Thus, the scroll back interview involves revisiting the archived “semantic bodies” of research participants, often producing experiences of nostalgia, embarrassment, shame and joy ( Robards & Lincoln, 2017 ). It should be noted that, while the method was developed for Facebook in particular, as it
Extreme metal music is held to be a destructive genre of popular culture, treated as a pariah for many. Being a seriously misunderstood genre, I would like to highlight that metal music is a result of conscious work process that cannot only be noticed on the level of the music but on the level of verbal and pictorial expressions too. In my paper, I would like to show the working mechanisms of the so-called “(neo)pagan/mythological metal” movement, focusing on the rhetoric side of its mentioned expressions, searching for the ways these bands rewrite ancient myths and legends.
For my research, I will use three main threads: 1) history of religion (looking for the connections of the reception of ancient topics in contemporary society, e.g. New Age Cults and New Religious Movements); 2) reception theory, as the thoughts of Northrop Frye, , and all should help to understand the general processes behind reading and producing texts; 3) subculture studies – e.g. the works of Richard Schusterman and to have a deeper insight to the genres standing on the edge of mass and high culture.
After a general introduction, I would like to demonstrate the above mentioned through some case studies. The chosen mythological cultures are going to be the world of the ancient Middle East (Mesopotamia, Egypt, and the Old Testament), the classical Roman world, and the Viking Era, also showing some Hungarian and Romanian examples in the last section. In each section, the following issues should be examined: band and stage names connected to the topic, album titles, lyrics, and album covers. All these together will show us many clear patterns from romantic nostalgia to allegoric concepts, all revolving around the essence of metal music: being a Stranger in a familiar society.