Cultural institutions save most of their digital-born and digitalized content within the digital sphere. In doing so, they rely on cloud computing and servers, barely taking into consideration that this infrastructure may fail one day. Furthermore, the institutions seem to factor out that these attempts may be related to profound changes in the digital objects.Our paper aims to explore this situation by focusing on sustainability within the digital realm. In the deliberate process of saving born-digital content, should we run the risk of inadvertently losing the content’s individual character itself? Should we embrace the possibility that dynamic content might be transformed into purely static data – ceasing to be relevant for users?How can we find a solution, set between archiving and the continuous promotion of digital culture? Might it be, that born-digital cultural heritage is not made for storage? Has the eager preservation of cultural heritage become a historical oddity that will not last the test of time, due to its nature?
Considering digital cultural heritage as the digitalized assets from memory institutions and digital born art, this paper aims to build on its current normative definitions. This first notion addresses the subtle, yet complex relationship between technology and culture. In addition, we consider the criteria set for defining heritage in memory theorization. By doing so, we want to challenge the lack of uniform standards and approaches in dealing with digital cultural heritage and to give Aleida and Jan Assmann's Theory of Cultural Memory a normative dimension. Can there be a cultural memory of the digital age?
La découverte de la collection Gurlitt, collection d’œuvres d’art dont l’existence a été portée à la connaissance du grand public en novembre 2013 et dont la constitution doit beaucoup à des activités commerciales développées durant la période du national-socialisme, a suscité de nombreuses interrogations. Son futur, conditionné par la libéralité à laquelle est confronté le Musée des Beaux-Arts de Berne, est grevé de tout autant de questions, tant juridiques qu’éthiques. Le débat sur les recherches en matière de provenance des œuvres et objets d’art est rouvert.
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