Vient de paraître: special issue on Media and Terrorism. From live-tweets to archives of the future (Media, War & Conflict)

Special Issue: Media and Terrorism in France. (2019). Media, War & Conflict, 12(2) – https://journals.sagepub.com/toc/mwca/12/2
Ed. Katharina Niemeyer and Staffan Ericson

From live-tweets to archives of the future: Mixed media temporalities and the recent French terrorist attacks

Alongside the “arrival” of digital communication technologies in the 20th century, the experience of time appears to have been altering. Hartmut Rosa (2013) has labeled this phenomenon social acceleration and François Hartog (2014) has analysed the regime of presentism in relation to the difficulty for historical narratives to take shape. These tendencies, presumably reinforced with the Web 2.0 and other forms of digital capitalism (Wajcman, 2015), concern everyday life communication, the work place, economic and financial exchanges but also the routines of journalists, newsrooms and war correspondents (see Risso, 2017). This evolution has at the same time fostered the so-called slow movements, such as slower journalism or slow food: forms and expressions of resistance or at least tendecies of (commodified) deceleration. These temporal shifts and interplays are also of importance when it comes to the question of terrorism, its organization and mediatization.
This special issue does not focus on the way terrorist organizations adapt to these new temporal realities or how they use communication technologies. Rather, it is interested in how these social changes transform and perform – or not (the idea of social acceleration is not the explanation for everything) – the way news media narrate terrorist attacks, how the reactions to the latter are shared in (online) social media and how the public and institutions try to archive traces of the event for future historical and commemorative work.

INTRODUCTION
From live-tweets to archives of the future: Mixed media temporalities and the recent French terrorist attacks
Katharina Niemeyer and Staffan Ericson
https://journals.sagepub.com/doi/full/10.1177/1750635219853891 (free access)

‘We are at war’: Continuity and rupture in French anti-terrorist discourse
Julien Fragnon
https://journals.sagepub.com/doi/full/10.1177/1750635219846035

Paris and Nice terrorist attacks: Exploring Twitter and web archives
Valérie Schafer, Gérôme Truc, Romain Badouard, Lucien Castex
and Francesca Musiani
https://journals.sagepub.com/doi/full/10.1177/1750635219839382 (free access)

From tweets to graffiti: ‘I am Charlie’ as a ‘writing event’
Maëlle Bazin
https://journals.sagepub.com/doi/full/10.1177/1750635219839395 (free access)

The front page as a time freezer: An analysis of the international newspaper coverage after the Charlie Hebdo attacks
Katharina Niemeyer
https://journals.sagepub.com/doi/full/10.1177/1750635219839378

Charlie Hebdo, 2015: ‘Liveness’ and acceleration of conflict in a hybrid media event
Johanna Sumiala, Minttu Tikka and Katja Valaskivi
https://journals.sagepub.com/doi/full/10.1177/1750635219846033

Participation – For the Time Being – Snapchats of the Past and #Instant_nostalgia

Thanks to the organizers for having invited me to contribute to this performance!

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For the Time Being is curated by six postgraduate students seeking to explore the shifting responsibilities of institutions in this networked age, as part of the MA Curating Contemporary Art Programme Graduate Projects 2019 at Royal College of Art, London. The exhibition is produced in collaboration with The Photographers’ Gallery.

For the Time Being is an experimental programme of photo-performance, conceived as a response to the everyday presence of social media. The project invites 5 international contemporary artists Agil Abdullayev, Feng Mengbo, Max Grau and Tamara Kametani and artist collective Agorama to reflect on the role of image sharing networks in their personal lives.

Through a series of on and offline events and performances, the artists will interrogate the way in which popular apps like Snapchat, Whatsapp and Instagram have affected understandings of intimacy, digital connectedness and notions of personal and collective memory.

The project uses Snapchat, an app devised to share intimate, disappearing images, as a central protagonist. Originally designed with unique features of instantaneity, intimacy and ephemerality, Snapchat quickly rose to cult popularity amongst a generation of millennials who used it to develop a means of communication that was playful, creative, subversive, and entirely their own. Today, the artists featuring in For the Time Being use Snapchat as a medium and a tool through which they reflect on debates within contemporary social media. The programme, therefore, presents an assemblage of ideas reflecting on big issues such as internet identities, fake news and data privacy, to more personal encounters of nostalgia and memory.

MORE: here

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