Minds in and out of time: memory, embodied skill, anachronism, and performance

Tribble, Evelyn; Sutton, John

doi:10.1080/0950236x.2012.696485

Cited by 18 publications

(1 citation statement)

References 18 publications

(11 reference statements)

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“…But we retain the ambition of integrating such ethnomethodological detail back into mainstream cognitive theory. The framework we're seeking thus differs clearly both from classical individualist cognitive science, where cognition occurs only in the head of individual thinkers, and from those forms of social theory in which the mind has gone missing entirely, displaced in favour of analyses of ideology or symbolism (as noted also by Downey 2010; Tribble & Sutton 2012). This particular middle ground is far from empty.…”

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Embodied Collaboration in Small Groups

Williamson¹,

Sutton²

Brain Theory

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mentioning

confidence: 99%

Embodied Collaboration in Small Groups

Williamson¹,

Sutton²

Brain Theory

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The Knossian Kamares Style as Transgenerational Memory

Prezioso

2024

J Archaeol Method Theory

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This paper introduces a new perspective on the constitutive role of material culture for memory using the Knossian Kamares pottery style as a case study. It challenges prevalent approaches in mainstream memory studies, which confine memory to individuals’ brains or minds, suggesting a deeper relationship between material culture and memory. Presenting a novel methodology rooted in cognitive archaeology to study the long-term making of Knossian Kamares decorations, I suggest that the Knossian Kamares pottery style is a transgenerational memory that enabled generations of artisans to remember, learn, and update technological skills and knowledge. I also claim that, in assuming this distributed, enactive, and non-representational stance on style as memory, it becomes evident that remembering is something we do: an active engagement that emerges with and through material culture in specific sociomaterial settings.

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Time and Gender on the Shakespearean Stage

Lewis¹

2020

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he longs to return to; he is torn between action and inaction, waiting and not waiting (.., ). Like all revengers, he is tied to stagnating memories of past injuries, whilst at the same time he is focused on the attainment of revenge in the future. This temporal discord is a conventional element of revenge tragedies, but also of the early modern stage and of early modern culture more broadly, and, as this book will argue, it is foundational to conceptualisations of both gender and time in the period. During the opening scene of The Revenger's Tragedy, Vindice reveals his own oscillation between a retrograde temporality of mourning, as represented by the skull, and a future-focused ambition to murder the Duke, represented by Opportunity, both of which are central to his revenging quest. By conjuring the figure of Opportunity he also creates the first of many metatheatrical moments in the play: he seems to be enquiring about both his brother's and the audience's readiness for the play itself to begin, as much as he is considering whether now is the right moment for his quest Figure  Geffrey Whitney, 'In occasionem', A choice of emblems (London, ), Zr

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Minds in and out of time: memory, embodied skill, anachronism, and performance

Cited by 18 publications

References 18 publications

Embodied Collaboration in Small Groups

Embodied Collaboration in Small Groups

The Knossian Kamares Style as Transgenerational Memory

Time and Gender on the Shakespearean Stage

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