摘要：The present work analyzes how the contemporary consumer society transforms the city into a producer of abandoned memory waste, and how these objects star in the photographic archive on social networks of the so-called waste trackers. A phenomenon that would be questioning the construction of collective memory from new perspectives. After this observation, we propose to face the analysis of the discarded object as a metaphor for memory by means of a possible analogy between these urban trackers and the Angel of Walter Benjamin’s story. In the same way, we will link this phenomenon to the paradigm shift of what can be photographed, largely motivated by the popularization of the integrated camera on mobile devices and image sharing applications. Finally, based on these keys, we will analyze a series of accounts on social networks where their authors develop alternative artistic discourses.
其他摘要：The present work analyzes how the contemporary consumer society transforms the city into a producer of abandoned memory waste, and how these objects star in the photographic archive on social networks of the so-called waste trackers. A phenomenon that would be questioning the construction of collective memory from new perspectives. After this observation, we propose to face the analysis of the discarded object as a metaphor for memory by means of a possible analogy between these urban trackers and the Angel of Walter Benjamin's story. In the same way, we will link this phenomenon to the paradigm shift of what can be photographed, largely motivated by the popularization of the integrated camera on mobile devices and image sharing applications. Finally, based on these keys, we will analyze a series of accounts on social networks where their authors develop alternative artistic discourses.
