Seite - 250 - in Limina - Grazer theologische Perspektiven, Band 3:2

250 | www.limina-graz.eu Chiara Zuanni | Heritage in a digital world age in this sphere, while paying attention to the appropriation of heritage content by socio-political movements. This is a challenge that has not yet been addressed by the sector, although the urgency of raising awareness of the uses and contexts of social media has been repeatedly emphasised (e. g. Richardson 2018). Digital objects as posthuman heritage This section will depart from a discussion of platforms as places for knowl- edge-making to shift the attention to platforms as heritage objects. The Web 2.0 has also completely reshaped the way we create and constitute memories of our personal lives and of our society. In the Internet of Things and social media age, memories are made, constructed, and memorialized online (Giaccardi 2016), and it has been argued that everyone is now a cu- rator, curating their online persona, memories, interests. This section will ask what it therefore means to preserve contemporary heritage in the digi- tal age. The recognition of born-digital material as an object of archiving and mu- sealisation practices has a longer history in the library and archives sec- tor, in particular in relation to web archiving and digital asset management practices. In the museum sector, expertise in dealing with this material has been developed in particular for collections of digital art (Paul 2015; 2017) and in science museums and museums of technology, where there is a longer tradition of collecting computers and technological artefacts (Foti 2018); more recently these objects have also been included in design muse- ums. Examples include technologies such as the iPod (Smithsonian 2008), the iPhone (V&A 2015), video games (the first collection having been started by MoMA in 2012). Despite growing attention to social media engagement, museums have been slow to include social media and digital culture objects in their collections. A notable exception is New York’s Museum of the Mov- ing Image, which has been collecting and exhibiting GIFs since 2014. Tem- porary exhibitions have included social media walls, i. e. screens showing social media streams in real-time. A similar installation at the Museum of London in 2016, called “Pulse” was used to show how Twitter represented Museums have been slow to include social media and digital culture objects in their collections.