In times of migration, globalization and new nationalism, we asked a German memory scholar Professor Aleida Assmann about art, cultural legacies and German culture of remembrance. This is only possible if there is a production of art and culture that is valued and passed on over centuries as a cultural legacy, consistently producing new input for the present. One example is the th anniversary of the Reformation, which stimulated new ways of looking at Luther, with regard to both his positive and negative aspects.
The latter form of education occurs throughout the life course and is not limited to youth.
But education in the sense of training may also become a lifelong process. As people grow older and older, they may take up new courses of study even as senior citizens. There are different media memory cultures. European cultural memory is traditionally archive-centred, with resident material values libraries, museums, year-old architecture , whereas the trans-Atlantic media culture is transfer-based.
When it comes to heritage, the archives of the US federal government do not simply store documents that according to the old archival tendency should preferably be kept secret, but instead ensure a memory imperative, a very mobile offering of its contents to the public, even advertising to make this memory circulate. If there were no copyright, every online user might take advantage of the fact that in digital networks the separation between archival latency and present actualization of information has already collapsed.
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There will be two bodies of memory in the future: analogue, material storage and digital information memories — translucent technologies of permanent data transfer. The archive is no longer the message of multi-media memory. Zimmerli ed.
Acts of Memory: Cultural Recall in the Present
Buchges, Darmstadt , pp. These stories from the BBC give empirically ground the idea of media theorists such as Wolfgang Ernst who argue that digital archives are dynamic and always moving across file-format and other […]. You are commenting using your WordPress.
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You are commenting using your Facebook account. Notify me of new comments via email. Notify me of new posts via email. Within the flexible limits of archival art today, Archive Public practices archival art as intervention in public space, questioning the dominant hegemony and allowing for possibilities of solidarity actions.
It aspires to the creation of a broader productive collaboration network triggered by two theoretical research assumptions and an open body of works which tries out archival interventions in conflicting urban situations, in Patras and other european cities. The first phase of the work developed theoretical propositions and art projects in Patras, Greece. It was realized with the support of the C. An edited volume, Archive Public. Performing Archives in Public Art. The book includes theoretical hypotheses on archival practice in contemporary art, art works that were specifically created for the project, as well as an anthology of essays by contemporary thinkers who elaborate on particular issues of the archive in relation to the public sphere and theories of democracy, the notions of institution and instituting practice, interventions in the shifting urban condition, the philosophy and archaeology of media as well as the global flows of migration and media.
Interventions focus on the urban and social condition of Patras, as it is influenced by a translocal dynamics which produces interrelations with other localities.
We plan to bring together theoreticians and practitioners from different cities and localities who are working on similar issues of archiving and intervention in the public sphere. We are seeking projects and theoretical works relevant to the Archive Public topics, as well as feedback texts responding to the art projects as they develop. Create a free website or blog at WordPress. Wolfgang Ernst The archive as metaphor From archival space to archival time The archive has become a universal metaphor for all conceivable forms of storage and memory. The silence of the archive: a media-archaeological point of view The archive is not the place of collective memories in a given society2 but rather the place of classifying, sorting out and storing data resulting from administrative acts, representing a kind of cybernetic feed-back option of data back to present procedures.
Counting by numbers: media, memory and the archive The archive does not tell stories; only secondary narratives give meaningful coherence to its discontinuous elements.
Archive versus collective memory To mistake the archive for a place of social memory is to divert attention from becoming aware of its real memory power: the mechanics of storage media which operates asymmetrically compared to human remembrance. From spatial to time-based archives From a media-archaeological point of view, the traditional archive as indicated above becomes deconstructed by the implications of digital techniques.
From storage to transmission There are different media memory cultures. Pierre Nora ed. See Elena Esposito, Soziales Vergessen. Reproduced here with the permission of the author. Share this: Twitter Facebook. Like this: Like Loading Leave a Reply Cancel reply Enter your comment here Fill in your details below or click an icon to log in:. Email required Address never made public. Name required. About Archive Public A research art project.
The Digital Presence of Museums and the Implications for Collective Memory
This impractical desire for recalling what is gone forever brings to surface a feeling of nostalgia , noticeable in many aspects of daily life but most specifically in cultural products. Recently, interest has developed in the area of ' embodied memory'. According to Paul Connerton the body can also be seen as a container, or carrier of memory, of two different types of social practice; inscribing and incorporating. The former includes all activities which are helpful for storing and retrieving information: photographing, writing, taping, etc.
The latter implies skilled performances which are sent by means of physical activity, like a spoken word or a handshake. These performances are accomplished by the individual in an unconscious manner, and one might suggest that this memory carried in gestures and habits, is more authentic than 'indirect' memory via inscribing.
The first conceptions of embodied memory, in which the past is 'situated' in the body of the individual, derive from late nineteenth century thoughts of evolutionists like Jean Baptiste Lamarck and Ernst Haeckel. However, neither of these concepts is accepted by current science.
King's College London - 7AAICC40 Cultural Memory
Memory can, for instance, be contained in objects. Souvenirs and photographs inhabit an important place in the cultural memory discourse. Several authors stress the fact that the relationship between memory and objects has changed since the nineteenth century. Stewart, for example, claims that our culture has changed from a culture of production to a culture of consumption.
Products, according to Terdiman, have lost 'the memory of their own process' now, in times of mass-production and commodification. At the same time, he claims, the connection between memories and objects has been institutionalized and exploited in the form of trade in souvenirs. These specific objects can refer to either a distant time an antique or a distant exotic place. Stewart explains how our souvenirs authenticate our experiences and how they are a survival sign of events that exist only through the invention of narrative.
This notion can easily be applied to another practice that has a specific relationship with memory: photography. Catherine Keenan explains how the act of taking a picture can underline the importance of remembering, both individually and collectively. Also she states that pictures cannot only stimulate or help memory, but can rather eclipse the actual memory — when we remember in terms of the photograph — or they can serve as a reminder of our propensity to forget.
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Others have argued that photographs can be incorporated in memory and therefore supplement it. Edward Chaney has coined the term 'Cultural Memorials' to describe both generic types, such as obelisks or sphinxes, and specific objects, such as the Obelisk of Domitian, Abu Simbel or 'The Young Memnon', which have meanings attributed to them that evolve over time.
Readings of ancient Egyptian artefacts by Herodotus , Pliny , the Collector Earl of Arundel , 18th-century travellers, Napoleon , Shelley , William Bankes , Harriet Martineau , Florence Nightingale or Sigmund and Lucian Freud , reveal a range of interpretations variously concerned with reconstructing the intentions of their makers. Historian Guy Beiner argued that "studies of cultural memory tend to privilege literary and artistic representations of the past. As such, they often fail to engage with the social dynamics of memory.
Monuments, artworks, novels, poems, plays and countless other productions of cultural memory do not in themselves remember.