Markham Annette N, Pereira Gabriel
Department of Digital Design and Information Studies, Aarhus University, Aarhus, Denmark.
Front Big Data. 2019 Oct 1;2:35. doi: 10.3389/fdata.2019.00035. eCollection 2019.
In this paper, we focus on one specific participatory installation developed for an exhibition in Aarhus (Denmark) by the Museum of Random Memory, a series of arts-based, public-facing workshops and interventions. The multichannel video installation experimented with how one memory (Trine's) can be represented in three very different ways, through algorithmic processes. We describe how this experiment troubles the everyday (mistaken) assumptions that digital archiving naturally includes the necessary codecs for future decoding of digital artifacts. We discuss what's at stake in critical (theory) discussions of data practices. Through this case, we offer an argument that from an ethical as well as epistemological perspective critical data studies can't be separated from an understanding of data as lived experience.
在本文中，我们聚焦于由随机记忆博物馆为在奥胡斯（丹麦）举办的一场展览而开发的一个特定的参与式装置作品，这是一系列以艺术为基础、面向公众的工作坊及干预活动。这个多通道视频装置作品通过算法过程，试验了如何用三种截然不同的方式来呈现一段记忆（翠娜的记忆）。我们描述了这个实验如何质疑日常（错误的）假设，即数字存档自然包含了用于未来对数字文物进行解码的必要编解码器。我们讨论了在关于数据实践的批判性（理论）讨论中利害攸关的问题。通过这个案例，我们提出一个观点，即从伦理和认识论的角度来看，批判性数据研究与将数据理解为生活体验是分不开的。
