i-Memory: Selfies and Self-Witnessing in #Uploading_Holocaust (2016)

Affect in cross‐chronotope alignments in narrations about Aristides de Sousa Mendes and their subsequent circulations

“…I explored instances where emotion was explicitly reported and situated in a past narrated chronotope, indexically displayed in the current narrating chronotope, and sometimes aligned in patterns of iconic parallelism that made them seem to at least partially fuse. I then discussed the potential for the affective cross‐chronotope alignments to be taken up and recirculated to broader audiences, as these are taken up beyond the immediate participant framework of the telling to non‐co‐present audiences (Ebbrecht‐Hartmann, 2016; Obens, 2016; Weissman, 2004;Wake, 2013).…”

“…Furthermore, participants' emotional stories are often elicited and recorded to be disseminated broadly for non‐immediate audiences via documentaries, radio, television, archives, and other channels. Indeed, recordings of emotional testimonials are often included in Holocaust education for the purpose of affectively stirring broad audiences (Ebbrecht‐Hartmann, 2016; Felman & Laub, 1992; Hartman, 1995; Obens, 2016; Wake, 2013; Weissman, 2004; Wieviorka, 2006). Even when participants take part in recorded one‐on‐one interviews, they do so with the understanding that their storytellings will ultimately be de‐ and recontextualized by and for differently positioned audiences, beyond the interview event itself (Bauman & Briggs, 1990; Briggs, 2007; Koven, 2014).…”

A learning ecology-based approach for enhancing Digital Holocaust Memory in European cultural heritage education

“…In addition, social media platforms have also been criticised for their participatory potential and their use in promoting user agency beyond accredited cultural institutions. Two forms of agency and engagement have come under particular scrutiny: the practice of taking selfies as a form of bearing witness to Holocaust memory [ 102 , 103 ], and Instagram projects that aim to engage new generations through alternative accounts and perspectives, such as @ichbinsophiescholl ( https://www.instagram.com/ichbinsophiescholl/ ) and Eva.Stories [ 88 ]. While the latter project straddles the line between trivialisation and desacralisation, it offers new ways of translating mediated Holocaust memory into social media patterns that can engage young people.…”

Social Media as Lieux for the Convergence of Collective Trajectories of Holocaust Memory—A Study of Online Users in Germany and Italy

“…Throughout the past few years, new modes of Holocaust commemoration and representation have evolved as a result of the progressive digitalisation of society [12]. With the passing of Holocaust survivors and witnesses, the "era of witness" [13] has evolved into the "era of the user" [14,15], in which users can choose from numerous testimonies and navigate through a variety of digital resources available online. New memory ecologies are forming as a result of digital technologies [16], and the participatory culture of social media [17] contributes to the emergence of new forms of Holocaust commemoration and education [18].…”