This article traces some modern conceptions of memory in history (Halbwachs, Nora), indirectly comparing them with the ancient poetic tradition of so-called “catalogue poetry.” In the discussion of memory and oblivion, I argue that history encompasses multiple histories rather than constituting one single teleological and universal history. Every history is produced by a historical narrative that follows and interprets what may be called the historical proper, which comprises lists of names of people, things, or (...) events that have to be kept and transmitted within a history. The historical and the narrative within a history are relatively independent, insofar as the narrative that interprets the historical may in principle change, whereas the historical has to be preserved, which is the primary task of historical memory. Historical being, then, is being remembered within a history. (shrink)

This article investigates the differential structure and representation of time in memory and history. It examines two moments in Jewish historical thought--in the Middle Ages, and in works written within and after the Holocaust--and demonstrates the fundamentally liturgical nature of Jewish historical memory in selected texts from these two periods. Following the groundbreaking work of Yerushalmi, it seeks to demonstrate that for Jews, historical experience is incorporated into the cyclical reenactment of paradigmatic events in Jewish sacred ritual. (...) Recent or contemporary experiences acquire meaning only insofar as they can be subsumed within Biblical categories of events and their interpretation bequeathed to the community through the medium of Scripture, that is to say, only insofar as they can be transfigured, ritually and liturgically, into repetitions and reenactments of ancient happening. In such liturgical commemoration, the past exists only by means of recitation; the fundamental goal of such recitation is to make it live again in the present, to fuse past and present, chanter and hearer, into a single collective entity. History, in the sense that we understand it to consist of unique events unfolding within irreversible linear time, is absorbed into cyclical, liturgical memory.This article argues that the question of Jewish history--both medieval and post-Holocaust--poses in a compelling fashion the question of the relationship between memory and history more generally, and serves to contest the current tendency in academic historiography to collapse history into memory. It claims that to the extent that memory "resurrects," " re-cycles," and makes the past "reappear" and live again in the present, it cannot perform historically, since it refuses to keep the past in the past, to draw the line, as it were, that is constitutive of the modern enterprise of historiography. (shrink)

This article traces some modern conceptions of memory in history (Halbwachs, Nora), indirectly comparing them with the ancient poetic tradition of so-called “catalogue poetry.” In the discussion of memory and oblivion, I argue that history encompasses multiple histories rather than constituting one single teleological and universal history. Every history is produced by a historical narrative that follows and interprets what may be called the historical proper, which comprises lists of names of people, things, or (...) events that have to be kept and transmitted within a history. The historical and the narrative within a history are relatively independent, insofar as the narrative that interprets the historical may in principle change, whereas the historical has to be preserved, which is the primary task of historical memory. Historical being, then, is being remembered within a history. (shrink)

History and memory rank as central themes in the philosophy of Friedrich Nietzsche. As one of the last philosophers of the 19th century, Nietzsche naturally belongs to the so-called ‘historical century’. The contentious exchange with the past and with antiquity – as much as the mechanisms, the dangers, and the lessons of memory and tradition – are continually examined and stand in close relationship with Nietzsche’s vision of life and his project of human development. As Jacob Burckhardt (...) once wrote of the cultural critique to his Basel colleague: "Fundamentally, you are always teaching history". Following Burckhardt’s judgment, the contributors focus on the analysis of core questions in the philosophies of history and memory, and their respective convergence in the thought of Nietzsche. The epistemological relevance of these central concepts will be thematized alongside those concerning tradition, and education. The discussion of these rich themes unifies a broad spectrum of questions, ranging from cultural memory to contemporary philosophy of mind. The contributions are revised versions of selected papers presented at the 2018 conference of the annual meeting of the Nietzsche Society in Naumburg. (shrink)

This volume explores on the material, social, and ideological aspects of Asoka's reign in light of advances made in archaeology, epigraphy, and numismatics. Thematically divided into three parts, the first to pillars and rocks, which bear his inscriptions. The second part examines the interconnectedness of the edicts, their monumentality, and the different concept of kingship they conveyed. The third part analyses the making of the cultural memory of Asoka and raises pertinent questions crucial for understanding the relationship between the (...) past and the present. The essays outline the importance of Asoka not only for the Indian nation-state but also for the entire Buddhist world of South and South-east Asia. Moving away from conventional periodization of Indian history, it raises important questions on the beginning of history and archaeology in the modern period. The book examines the extent to which nineteenth century initiatives have affected the study of Asoka and his reign. (shrink)

In this article I begin to explore Friedrich Nietzsche’s and Jacques Derrida’s philosophies of history in terms of the persistence of forgetting within (non-subjective) memory. In section I, I shall outline the totalizing production of history understood as an unsuccessful attempt to erase the indifference of animality and the difference of madness. The following two sections are concerned with the particular kinds of non-subjective memories—memorials—that arise in the aftermath of this erasure and include writing and the archive (...) (section II), as well as the ghostly and genealogical confusions (section III). Throughout these sections I shall argue that each of the externalizations of memory in non-subjective memorials is contaminated by forgetting, both shaping and shaking up the foundations of history. Finally, section IV revisits the memorials and states of forgetting discussed in the previous sections in light of the (im)possibility of justice. (shrink)

This article addresses cultural memory’s ability to address past and present injustices by focusing on the artistic-political practices displayed by the professional actresses of Roma descent from the independent theater the Giuvlipen in Bucharest. The founders of this Romani women-centered theater also have ‘invented’ the word ‘Giuvlipen’ – ‘feminism’ in the Romani language – because there had previously been no word to connote both the forms of oppression and the consciousness raising politics performed by Romani women. By applying the (...) lens of intersectional feminism, the argument this article aims to put forth is that Giuvlipen’s artistic performances can foster the awareness raising of the Romani women’s ‘double jeopardy’. At the same time, the artistic performances displayed by the Giuvlipen Theater challenge the habits of historical remembering and its politics of oblivion, which can in turn promote experiential forms of knowledge and new structures and archives of feelings. (shrink)

The article is based on an analysis of the works of the French historian Pierre Nora, who, trying to find a "true" history, comes to the opposition of history and memory. Outright political agitation and national imperatives are dominated in History, therefore history cannot be correct and objective. Instead of history, the philosopher believes, we should focus on the right memory. But when memory itself has been torn apart, it can only exist (...) on the basis of "memory places" - mnemonic places. The power of memory is preserved now in the places of memory that accumulate and preserve history. Places of memory have lost their physical or geographical meanings. Meaning and sense are made places of memory, important place for history. Due to the nature of the memory places, the multiplicities of their interpretations are the normal. And the past, therefore, became a poly semantic space, focused on the co-presence of many different versions of the interpretation of the same memorial structures (monuments, historical facts and events, texts of the past). Contrasting memory and history, P. Nora concludes about "the tyranny of memory (it is reminiscent of Reeker's statement). In his opinion, at any moment the memory is ready to lift history under itself, to "memorize" it, it deeply and dangerously distorts the meaning of words. Precisely because there is no collective memory, the places of memory appear that designed to compensate for its absence. When the space of memory disappears, mnemonic places appear. It is through mnemonic places (places of memory) as spaces that provide access to traditions, Nora moves from the present to the past. But the noble goal of finding the truth, of recreating traditions, has turned into honoring memory for political purposes, where the past has become the rhetorical construct of the present. Hence, the perception of truth is changing. Now, the truth is not in the "factuality" of the data, but in their "relevance". In the end, Nora makes a rather devastating conclusion for history- that the past has lost its meaning, the present historical consciousness gives meaning to all possible and valid versions of the past, and that official memory (politics of memory) is associated with practices of selective forgetting or memory. (shrink)

This chapter explores how the end of slavery is remembered in Tanzania. While the subject of ‘The end of slavery in Africa’ has attracted a substantial number of outstanding scholars, few researchers have conducted oral interviews, especially in East Africa. The author undertook field research, collecting contemporary memories of the end of slavery over a period of three months in the mid-1990s in various parts of Tanzania. The interviews were meant to complement archival research. The chapter shows that the (...) class='Hi'>memory of the end of slavery and the archival record fail to correspond with each other, and offers an explanation of why this is the case. (shrink)

Resumen Aunque Carlos Arturo Truque sigue siendo poco conocido, no podemos hablar de literatura afrocolombiana, ni colombiana, sin su aporte. Con una producción literaria dispersa en publicaciones periódicas, el chocoano apuesta por el cuento cuando este no era suficientemente valorado en su país. Vivan los compañeros recoge todos sus cuentos, en los que se acerca tanto a los personajes excluidos de la sociedad como a los episodios de la historia colombiana más “vergonzosos”, desde un lenguaje que se aleja de todo (...) academicismo. Su obra, calificada en la época de “literatura sucia”, y ubicada concretamente en el Chocó y el puerto de Buenaventura, no es ajena a cualquier injusticia humana. Además, la necesidad de Truque de plasmar el habla de su comunidad no le impide contemplar las nuevas técnicas narrativas que llegaban entonces de Norteamérica. Así, renueva el cuento colombiano desde el plano formal y de contenido.Although Carlos Arturo Truque is still not well known, we cannot talk about Afro-Colombian, or Colombian literature, without mentioning his contribution. With an unfocused literary production in periodic publications, the “chocoano” bets on the short story when this genre was not highly valued in his country. Vivan los compañeros collects all his short stories, where he approaches the excluded characters of society as well as the more “shameful” episodes of Colombian history, from a language that distances itself from all academic art. His work, described at the time as “dirty literature” and specifically located in Chocó and the port of Buenaventura, is not alien to any human injustice. Besides, the need for Truque to express the speech of his community does not prevent him from contemplating new narrative techniques coming from North America. Thus, he renews the Colombian short story from the formal level and its content. (shrink)

Engaging philosophy with history, literature, film and testimony, this book examines the critical relationship between white Australian identity and the cultural priority of childhood in Australia.

According to the hypotheses of distributed and extended cognition, remembering does not always occur entirely inside the brain but is often distributed across heterogeneous systems combining neural, bodily, social, and technological resources. These ideas have been intensely debated in philosophy, but the philosophical debate has often remained at some distance from relevant empirical research, while empirical memory research, in particular, has been somewhat slow to incorporate distributed/extended ideas. This situation, however, appears to be changing, as we witness an increasing (...) level of interaction between the philosophy and the empirical research. In this editorial, we provide a high-level historical overview of the development of the debates around the hypotheses of distributed and extended cognition, as well as relevant theory and empirical research on memory, considering both the role of memory in theoretical debates around distributed/extended ideas and strands of memory research that resonate with those ideas; we emphasize recent trends towards increased interaction, including new empirical paradigms for investigating distributed memory systems. We then provide an overview of the special issue itself, drawing out a number of general implications from the contributions, and conclude by sketching promising directions for future research on distributed memory. (shrink)

There has been a widespread recovery of public memory of the events of the Second World War since the end of the 1980s, with war crimes trials, restitution actions, monuments and memorials to the victims of Nazism appearing in many countries. This has inevitably involved historians being called upon to act as expert witnesses in legal actions, yet there has been little discussion of the problems that this poses for them. The French historian Henry Rousso has argued that this (...) confuses memory with history. In the aftermath of the Second World War, judicial investigations unearthed a mass of historical documentation. Historians used this, and further researches, from the 1960s onwards to develop their own ideas and interpretations. But since the early 1990s there has been a judicialization of history, in which historians and their work have been forced into the service of moral and legal forms of judgment which are alien to the historical enterprise and do violence to the subleties and nuances of the historian's search for truth. This reflects Rousso's perhaps rather simplistically scientistic view of the historian's enterprise; yet his arguments are powerful and should be taken seriously by any historian considering involvement in a law case; they also have a wider implication for the moralization of the history of the Second World War, which is now dominated by categories such as "perpetrator," "victim," and "bystander" that are legal rather than historical in origin. The article concludes by suggesting that while historians who testify in war crimes trials should confine themselves to elucidating the historical context, and not become involved in judging whether an individual was guilty or otherwise of a crime, it remains legitimate to offer expert opinion, as the author of the article has done, in a legal action that turns on the research and writing of history itself. (shrink)

Published to coincide with the quincentennial celebrations of Columbus's ‘discovery’ of the New World, the Native American writer Leslie Marmon Silko's apocalyptic 1991 novel, Almanac of the Dead, is a harsh indictment of five hundred years of colonialism, racism and genocide in the New World. Silko clearly links this inhuman(e) history to the contemporary social policies of a range of nation states within the Americas, to present a variety of political issues that are of crucial significance to contemporary tribal (...) communities and other multi-national disenfranchised groups. Among others, this includes the significance of gender to constructions of American settlement and Federal-Indian relations, and to Silko's own status, and choice of literary topics, as a female (and Native) writer. This essay analyses Silko's disruption of authorized and sanitized state narratives, and of accepted (and acceptable) narratives of settlement; and considers Silko's use of the almanac form – the codex – of the pre-contact Aztec and Mayan libraries as a means to assert indigenous literacy, and to challenge the Euro-American claims to ‘civilization’ that are the basis for New World settlement. Most significantly, as its title suggests, Almanac of the Dead emphasizes the presence of the dead, both indigenous peoples and African slaves, to expose the real costs of settlement, and to actively un-settle the Euro- American reader. Consequently, Almanac of the Dead presents the powerful alternative histories of a range of dispossessed social and ethnic groups throughout the Americas, while relocating and reconsidering the US within the context of the Americas as a continental and historical whole, and emphasizing the positive potential of political activism. (shrink)

In 1809 the radical English philosopher, novelist, and historian William Godwin published Essay on Sepulchres—a proposal to mark the burial sites of the morally great with a simple wooden cross. This paper explores Godwin's essay in terms of his evolution as moral philosopher and historian. While Godwin is commonly renowned as a utilitarian rationalist given to optimistic assertions on human perfectibility, this essay demonstrates the extent to which his moral theory depended on emotion and intuition and how he came to (...) posit an alternative mode of historical perception which queried the progressivist assumptions of ‘Enlightenment’ historiography. (shrink)

In this paper we intend to show that in Memory, History, Forgetting, Paul Ricœur articulates memory and history through imagination. This philosopher distinguishes two main functions of imagination: a poetical one, associated with interpretation and discourse, and a practical and projective one that clarifies and guides our actions. In Memory, History, Forgetting, both functions of imagination are present, but are associated with different aspects of memory. The first one is present especially in the (...) phenomenology of the cognitive dimension of memory; the second one is developed in the analysis of the abuses of artificial memory, while their convergence is described in the section on the abuses of natural memory. Besides the similarities in the way these functions of imagination operate in Oneself as Another and in Memory, History, Forgetting, we will show some important differences between these two works and we will propose reasons for these differences. Keywords: Poetical Imagination, Practical Imagination, Abused Memory, Ideology, Utopy. Résumé Dans cet article nous souhaiterions montrer que, dans La mémoire, l’histoire, l’oubli, l’imagination productrice est ce qui permet d’articuler la mémoire et l´histoire. Ricœur distingue deux principales fonctions de l’imagination: l’une, poétique, associée à l’interprétation et au discours ; l’autre pratique et projective, qui éclaire et oriente nos actions. Dans La mémoire, l’histoire, l’oubli, ces deux fonctions de l’imagination sont présentes mais elles sont associées à des aspects différents de la mémoire. La première est surtout présente dans la phénoménologie de la dimension cognitive de la mémoire, la seconde apparaît dans l’analyse des abus de la mémoire artificielle, et l’articulation entre ces deux fonctions se trouve enfin décrite dans la section concernant l’abus de la mémoire naturelle. Outre les similitudes dans la façon dont ces fonctions de l’imagination opèrent dans Soi-même comme un autre et dans La mémoire, l’histoire, l’oubli, nous essaierons de montrer qu’il existe cependant certaines différences importantes entre ces deux œuvres en tentant d’en expliciter les raisons. Mots-clés: Imagination poétique, imagination pratique, mémoire abusée, idéologie, utopie. (shrink)

Collective memory is not always synonymous with tradition on the one hand or with the recollection of collective history on the other. The example of a South Tunisian oasis, located in a region with a strong tradition of literacy, shows a process of rupture with autochthonous history, a rupture based on the reappropriation of scholarly works of colonial administrators. Local memory is essentially based on the history of family and lineage origins, ideally founded on Shereefian (...) ancestry, a genealogy going back to the prophet Mohammed. This lineage memory, which a long sociological tradition has described as scheduled to merge into the nation, has in fact been constantly built up, activated largely by colonial and contemporary ethnography. The forgetting that affects other dimensions of the past, and in particular the integration into the nation, should not be interpreted as a mere vanishing but as a form of mute claim. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Denying the Body? Memory and the Dilemmas of History in DescartesTimothy J. ReissIn an essay first published in The New York Review of Books in January 1983, touching her apprenticeship as writer, the Barbadian /American novelist Paule Marshall described the long afternoon conversations with which her mother and friends used to relax in the family kitchen. She recalled how they saw things as composed of opposites; not (...) torn, but completed and made whole by them.Theirs was not a Manichean brand of dualism that sees matter, flesh, the body, as inherently evil, because they constantly addressed each other as “soully-gal”—soul: spirit; gal: the body, flesh, the visible self. And it was clear from their tone that they gave one as much weight and importance as the other. They had never heard of the mind/body split. 1This closing claim is surely less than self-evident. Whether or not the companions had heard of the mind/body split depends on the meaning given to the verb “hear.” Certainly it was embedded in their language, however much the phrase “soully-gal” might recombine its parts.Did the split come from Descartes and early European debates, linguistically colonizing all those who came within its sphere—Africans, Barbadians, Brooklynites? Did it come from a Christian heritage, with its haggling over bodily mortality and immortality of soul? Who knows? A first point is that it is still an everyday experience, deeply buried in language and so in the ideas, feelings, and meanings expressed in language. A second point is that the post-Cartesian debates—to simplify for a moment with an overly heavy [End Page 587] hand—were and are themselves but a variant within a much longer received wisdom. Nonetheless, such wisdom is now bound to that variant, which, willy-nilly, does give one set of parameters to a common experience—at least, to that of those of us who dwell under Western hegemonies. It gives them also, no doubt, to many who live within them at once less clearly and more contentiously.I would like to offer a further powerful instance here, simply to emphasize what and how much is at stake in the questions to be addressed. It occurs in a writing by the Guyanese novelist Wilson Harris, his Palace of the Peacock. First in a tetralogy, this novel recounts something like a journey away from a life of colonial and postcolonial violence and oppression towards a hoped-for rebirth in “fulfilment and understanding.” 2 Early on, the harsh protagonist, Donne, mocks the narrator, his mysterious “double” and “brother,” Dreamer, who has remarked their distance from “the folk.” “Is it a mystery of language and address?” asks Donne. Slightly bewildered, Dreamer struggles to suggest that the obstacle is less of language than of a deeper disjunction:“it’s an inapprehension of substance,” I blurted out, “an actual fear of the substance of life, fear of the substance of the folk, a cannibal blind fear in oneself. Put it how you like,” I cried, “it’s a fear of acknowledging the true substance of life. Yes, fear I tell you, the fear that breeds bitterness in our mouth, the haunting sense of fear that poisons us and hangs us and murders us. And somebody,” I declared, “must demonstrate the unity of being, and show...” I had grown violent and emphatic... “that fear is nothing but a dream and an appearance....” 3Recovery of unity might become a way to defeat political and historical violences. In the next novel in the sequence, one of two self-indulgently whining characters, accused of pining for a woman who has run away to seek education, explodes: “I don’t believe you can begin to see how some body like they born seeking for mind.” 4 For peoples of the colonized Americas, imbued with “the great civilization of the American Indian,” this urge, Harris then wrote in a critical essay, was simply the personal form of a social and political necessity to recover still-living elements of a culture for which “matter truly bore the imprint of genius,” refusing “the taboo of spirituality removed from sensuous direction.” 5 Recently, Harris has worried this... (shrink)

In recent decades, memory has become one of the major concepts and a dominant topic in philosophy, sociology, politics, history, science, cultural studies, literary theory, and the discussions of trauma and the Holocaust. In contemporary debates, the concept of memory is often used rather broadly and thus not always unambiguously. For this reason, the clarification of the range of the historical meaning of the concept of memory is a very important and urgent task. This volume shows (...) how the concept of memory has been used and appropriated in different historical circumstances and how it has changed throughout the history of philosophy. In ancient philosophy, memory was considered a repository of sensible and mental impressions and was complemented by recollection-the process of recovering the content of past thoughts and perceptions. Such an understanding of memory led to the development both of mnemotechnics and the attempts to locate memory within the structure of cognitive faculties. In contemporary philosophical and historical debates, memory frequently substitutes for reason by becoming a predominant capacity to which one refers when one wants to explain not only the personal identity but also a historical, political, or social phenomenon. In contemporary interpretation, it is memory, and not reason, that acts in and through human actions and history, which is a critical reaction to the overly rationalized and simplified concept of reason in the Enlightenment. Moreover, in modernity memory has taken on one of the most distinctive features of reason: it is thought of as capable not only of recollecting past events and meanings, but also itself. In this respect, the volume can be also taken as a reflective philosophical attempt by memory to recall itself, its functioning and transformations throughout its own history. (shrink)

for Lambros Malafouris and Carl Knappett (eds), Material Agency: towards a non-anthropocentric approach (Springer, late 2007).

Museums are conventionally viewed as institutions dedicated to the conservation of valued objects and the education of the public. Recently, controversies have arisen regarding the representation of history in museums. National museums in America and Germany considered here, such as the Smithsonian's Air and Space Museum, the Holocaust Memorial Museum, and the German Historical Museum, have become sites of contention where national histories and personal memories are often at odds. Contemporary art installations in museums which take historical consciousness as (...) their theme similarly raise contentious issues about public knowledge of and personal interest in the past. When members of publics find that their memories of the past or their expectations for museum experiences are not being met, a kind of "distortion" occurs. The "distortion" related to memory and history in the museum is not so much of facts or interpretations, but rather a distortion from the lack of congruity between personal experience and expectation, on the one hand, and the institutional representation of the past on the other. This essay explores the possibilities for a redefined relationship between personal memory and history that is experienced in contemporary museums. (shrink)

Remembering forgetting : Maladies de la Mémoire in nineteenth-century France -- Dying of the past : medical studies of nostalgia in nineteenth-century France -- Hysterical remembering -- Trauma, representation, and historical consciousness -- Trauma : a dystopia of the spirit -- Falling into history : Freud's case of 'Frau Emmy von N.' -- Why Freud haunts us -- Why Warburg now? -- Classic postmodernism : Keith Jenkins -- Ebb tide : Frank Ankersmit -- The art of losing oneself : (...) Anne Carson and decreation -- Inquiry as hope : Richard Rorty -- Photographic ambivalence -- Why photography matters to the theory of history -- Ordinary film : Péter Forgács's The Maelstrom -- Graves of the insane, decorated -- On a certain blindness in teaching -- Beyond critical thinking -- Good and risky : on the promise of a liberal education. (shrink)

In this paper, I use two films—Les Statues MeurrentAussi directed by Resnais and Marker and Sans Soleil as representatives of Left Bank cinema to show how they construct experiences of time and memory using various modernist strategies. Key to this is the use of a mental journey genre in modernist cinema and the construction of a facial dispositif which leads to a perceptual experiencing of inner states. Les Statues MeurrentAussi is a key film in the history of French (...) cinema as it highlights Alain Resnais’ and Chris Marker’s early commitment towards a politically avant-garde filmmaking style. The film was banned for many decades because it was highly critical of France’s colonial interests. The film is also a proof to the less emphasised collaboration between two pioneering directors and especially in their use of the essay film genre. Sans Soleil on the other hand is considered as a philosophical masterpiece because of its meditations on time and memory. In taking these two films, I hope not only to demonstrate cinema’s capability to generate affective spatio-temporal states but also to highlight a piece of film history which is often misappropriated under the tag of the French New Wave. (shrink)

This discussion originally took place as part of the Sounding the Land exhibition curated by Simon Gush, Helena Pohlandt-McCormick, Craig Paterson and Gary Minkley at the virtual National Arts Festival that ran from 25 June 5 July 2020. Sounding the Land intended to use the bicentennial of the so called 1820 settlers' arrival as a critical platform from which to discuss the legacies of the settler colonial project, the ways in which it is commemorated, and to reassess the historical understandings (...) of the 1820 settler moment in South African history. In the following discussion, which took place via Zoom Video Communication and was originally recorded on 2 June 2020, between Leslie Witz in Cape Town and Helena Pohlandt-McCormick in San Francisco they talk about the cyclical and accumulative power of anniversary and commemoration, the ways they set in place temporal certainties that align past, present and future, and how configurations of memorial space through visual technologies are authoritative mechanisms in establishing the time and times of history. They discuss strategies of resisting such memorial power and whether the simple inversion of historical figures and events may inadvertently serve to reinforce anniversary histories of founding. By linking the contemporary moments of the interview the COVID-19 pandemic, the postponement of settler commemorations, the virtual National Festival, and the killing of George Floyd in Minneapolis they consider dystopian futures as inaugurating the possibilities of disruptive memorial time that constantly exposes the fractures of racial violence and colonial dispossession rather than masking it through either the commemoration or the inversion of the anniversary. (shrink)

The organ of the memory was of crucial importance for Robert Hooke in his aim to improve natural history and the study of nature in general. As a mechanist he was careful to avoid the confident analogizing of his contemporaries, and he described his model in hypothetical form. However, he saw it as amenable to improvement—just as mechanically as the senses were augmented by the use of instruments. The close connection he made between a better memory mechanism (...) and the task of ‘perfecting’ the study of natural philosophy can be seen in a whole range of his activities. These included his discussion of the memory as an epistemological tool, his frequent use of devices such as lists and schemata for ordering aspects of nature and his personal memoranda. His diary, by acting as a stimulant to memory, should be seen as an integral part of his attempt to become a better natural philosopher. Both the act of daily inscription and the ordering of occurrences for effective later recall would improve his memory and his performance of his life's task as a philosopher of nature. (shrink)

A case study in historical cognitive science, this paper addresses two claims made by radical proponents of new dynamical approaches. It queries their historical narrative, which sees embodied, situated cognition as correcting an individualist, atemporal framework originating in Descartes. In fact, new Descartes scholarship shows that 17th-century animal spirits neurophysiology realized a recognizably distributed model of memory; explicit representations are patterns of spirit flow, and memory traces are changes left by experience in connections between brain pores. This historical (...) sketch supports the second dynamicist claim, that connectionists' stress on the cognitive importance of pattern-recreation needs supplementing by dynamicists' real-time focus and attention to the active roles of body and environment. Animal spirits theory exhibits just the 'continuous reciprocal causation' between brain, body, and environment which Andy Clark sees as dynamicism's central contribution, and allows for the embedding of brains in culture as well as the physical world. (shrink)

With this nuanced and interdisciplinary work, political theorist Mihaela Mihai tackles several interrelated questions: How do societies remember histories of systemic violence? Who is excluded from such histories' cast of characters? And what are the political costs of selective remembering in the present? Building on insights from political theory, social epistemology, and feminist and critical race theory, Mihai argues that a double erasure often structures hegemonic narratives of complex violence: of widespread, heterogeneous complicity and of "impure" resistances, not easily subsumed (...) to exceptionalist heroic models. In dialogue with care ethicists and philosophers of art, she then suggests that such narrative reductionism can be disrupted aesthetically through practices of "mnemonic care," that is, through the hermeneutical labor that critical artists deliver—thematically and formally—within communities' space of meaning. Empirically, the book examines both consecrated and marginalized artists who tackled the memory of Vichy France, communist Romania, and apartheid South Africa. Despite their specificities, these contexts present us with an opportunity to analyze similar mnemonic dynamics and to recognize the political impact of dissenting artistic production. Crossing disciplinary boundaries, the book intervenes in debates over collective responsibility, historical injustice, and the aesthetics of violence within political theory, memory studies, social epistemology, and transitional justice. (shrink)