This article discusses the imaginary that digital memories are ‘placeless’, which refers to the notion that, among the changes that memory has experienced under the impact of digital media, one is the loss of a significant link to place. I contend that digital memories are not placeless memories, but, on the contrary, that place is central for digital memory work. Drawing on the concept of ‘performation’, I seek to demonstrate how place is created, executed and staged in the digital ecology. To illustrate this, I analyse two works of the research agency Forensic Architecture, ‘Hannibal in Rafah’ and ‘Saydnaya: Inside A Syrian Torture Prison’, in which ‘place’ plays a central role in the shaping of digital memory. Digital media’s ‘inherently archival’ nature acquires a different meaning in these works: it is the process of collecting and mapping the dispersed fragments of data that transforms the archive into memory.

本文讨论了数字记忆是“无场所”的想象，指的是在数字媒体的冲击下，记忆所经历的变化中，一个是失去了与场所的重要联系。我认为数字记忆不是无位置的记忆，相反，那个位置是数字记忆工作的核心。借鉴“表演”的概念，我试图展示地方是如何在数字生态中被创造、执行和上演的。为了说明这一点，我分析了研究机构 Forensic Architecture 的两部作品，《拉法的汉尼拔》和《赛德纳亚：叙利亚酷刑监狱内》，其中“地点”在塑造数字记忆方面起着核心作用。数字媒体的“固有档案”性质在这些作品中获得了不同的含义：