To balance radical changes in the built environment that accompany urban renewal, many cities deploy historical design elements to provoke a sense of physical and temporal continuity. By examining the theory and practice of nostalgia in renewal projects, I argue that this strategic deployment of historical signifiers is more complex and normatively problematic than it first appears. Analysing the design and construction of Baltimore’s Oriole Park at Camden Yards through Walter Benjamin’s theories of cultural production and historical succession, I show (...) the problematic political effect of such image-led regeneration projects. The stadium exemplifies a system of urban and historical design and construction that uses material artifice to make totalizing political claims, deploying specific historical signifiers as a means to silence others. Drawing from Benjamin’s materialist historiography, I conclude with a survey of the resources that remain for the practice of an architecture of memory in light of my critique. (shrink)

While nostalgia has been the subject of some philosophical treatment (especially in the phenomenological tradition), I think new findings in the psychological literature and new historical investigations call for a re-interrogation of this phenomenon. My argument is that philosophical reflection, as well as findings from empirical psychology, gives us strong reasons to think that: (1) Nostalgic experiences can be divided between typical nostalgic experiences that are positive and strengthen our sense of narrative identity by connecting us to an idealized past (...) that we have a sense that we have lived. These typical nostalgia experiences are affectively bittersweet (though more sweet than bitter) and, as psychological literature attests, seem to arise in the wake of a crisis—and from this crisis, nostalgia attempts to make us feel at home in the world again. (2) In contrast to typical forms of nostalgia, there are what I call atypical forms of nostalgia; in these cases, the experiences are often negative, and they connect us not to a past that we have lived but to one that we wished to have lived. This form of nostalgia leads not to a strengthening of narrative identity but a weakening of it, and a feeling of grief for the world in which we could not belong. (shrink)

Philosophy and Memory Traces defends two theories of autobiographical memory. One is a bewildering historical view of memories as dynamic patterns in fleeting animal spirits, nervous fluids which rummaged through the pores of brain and body. The other is new connectionism, in which memories are 'stored' only superpositionally, and reconstructed rather than reproduced. Both models, argues John Sutton, depart from static archival metaphors by employing distributed representation, which brings interference and confusion between memory traces. Both raise urgent issues about control (...) of the personal past, and about relations between self and body. Sutton demonstrates the role of bizarre body fluids in moral physiology, as philosophers from Descartes and Locke to Coleridge struggled to control their own innards and impose cognitive discipline on 'the phantasmal chaos of association'. Going on to defend connectionism against Fodor and critics of passive mental representations, he shows how problems of the self are implicated in cognitive science. (shrink)