I would like to share my interest in the writer Jerzy Kosinski and how he sheds light on the process of curation.
In a review of Jerzy Kosiński: A Biography by James Park Sloan, D. G. Myers, Associate Professor of English at Texas A&M University wrote “For years Kosinski passed off The Painted Bird as the true story of his own experience during the Holocaust. Long before writing it he regaled friends and dinner parties with macabre tales of a childhood spent in hiding among the Polish peasantry. Among those who were fascinated was Dorothy de Santillana, a senior editor at Houghton Mifflin , to whom Kosinski confided that he had a manuscript based on his experiences. Upon accepting the book for publication Santillana said, “It is my understanding that, fictional as the material may sound, it is straight autobiography.” Although he backed away from this claim, Kosinski never wholly disavowed it.” 17
Through the ongoing process of organizing content and media elements which create personal profiles, social media users inadvertently curate versions of themselves. Social media turns users into curators as they create distinct incarnations that are separate, yet become the objectified digital presentation of one’s physical self. Personal curation is content primarily for oneself, a social curation is content for interaction with friends, family, and acquaintances, spectacle curation is content for strangers and authorities to evaluate, and a business curation is content for the furthering of professional interests. Social media makes self-curators of users by its very function in the distribution of online media content.With people constantly adding to, tinkering with, amending, reinventing and fragmenting the components that constitute their identity in digital terms (think everything from individual tweets to Instagram photos), they themselves are becoming curators of how their ‘virtual self’ appears to the world.
Where does this come from?
“As defined by psychologist Donald Spence, historical truth involves concrete objects and events; a memory is historically true if it can be factually verified. Narrative truth involves the connections between events, which are not verifiable because they are based on values, interpretations, and emotions. A memory has narrative truth when it captures an experience to the satisfaction of those telling and listening to it. Narrators who focus on historical truth see themselves as “archivists,” guarding original records and trying to keep them pristine, while those who focus on narrative truth are “mythmakers,” cre-ating a story “that speaks to the heart as well as the mind” and “seeks to know the truth and generate conviction about the self.”’ Source presently unknown