![]() ![]() LK: Another thing you have written about is issues of data ownership after a person’s death. And even if you could, because of how things are copied and propagated through the network, deleting data is practically impossible. Obviously, you can’t march over to Google somewhere in California and say–I would like to smash my section. When one’s data is uploaded to the cloud, we normally don’t know where the server is, and the only real way to destroy data is by physically destroying the hardware by de-magnetising it or smashing it. How difficult is it to erase data? I think it is nearly impossible, especially online. In the works, the gesture is very symbolic. How hard or easy is it to erase data once uploaded in the circulation of social media?Īudrey Samson: Yes, both works are about erasing data, but as you say, it is rather impossible. Yet, in your research, you talk about the difficulties of deleting data, especially in the case of Facebook, Google and Twitter. and Goodnight Sweetheart can both be seen as digital data funerals and artistic strategies to deal with the deletion of data. ![]() Linda Kronman: Your works ne.me.quitte(s).pas The interview is interspersed with images from FRAUD’s most recent (at the time of writing) display of Goodnight Sweetheart: The Right to Happiness which was shown at the Fotomuseum, Switzerland from 24 October 2020 until 14 February 2021. It is republished here under the ShareAlike 4.0 International Creative Commons licence. ![]() It was originally published in the book Behind the Smart World: Saving, Deleting and Resurfacing Data, edited by Linda Kronman and Andrea Zingerle for the AMRO Research Lab, 2015. The following is an interview between Audrey Samson and Linda Kronman (media artist and designer) in which they discuss two of FRAUD's projects and their interest in digital detritus. Ultimately, they ask: Who should choose what remains in " the cloud", online and in our devices? Do we have a right to delete, especially when this right is tied up with the ecological consequences of a growing digital pollution problem and the politics of power and money? When they exhibit the project, FRAUD performs digital embalmings on the audience's digital data and also hosts workshops on how to embalm your device. By collecting devices from others and embracing the seemingly absurd and futile act of embalming them, the artists wanted to reflect on the significance of rituals and the politics of deletion. In the artwork Goodnight Sweetheart: The Right to Happiness, FRAUD performed digital data funerals-symbolic exorcisms for undead media-and then displayed the embalmed electric bodies in a museum-like installation. ![]() They consider that we live in a digital dilemma-on the one hand, we are never ready to part with our images but, on the other, in not doing so we submit these images to surveillance, consume energy with their storage and sharing and rely on companies and third parties to guard our private data, potentially risking losing it forever. Destroying our digital data from our hard drives, phones, USB sticks, servers and social media platforms is both a ‘Sisyphean task’ and a ‘frightening prospect’, says Audrey Samson and Francisco Gallardo of the London-based artistic research duo, FRAUD. ![]()
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