The Archive and the Repertoire: Performing Cultural Memory in the Americas (review)

Paredez, Deborah

doi:10.1353/mdr.2006.0015

Cited by 2 publications

(3 citation statements)

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“…‘Archival’ memory exists as documents, maps, literary texts, letters, archaeological remains, bones, videos, films, and all those items supposedly resistant to change. The repertoire, on the other hand, enacts embodied memory and encompasses mnemonic practices such as performances, gestures, orality, movement, dance, or singing ( Taylor, 2003 ).…”

Section: The Archive In Motionmentioning

confidence: 99%

Memory in the digital age

Mandolessi

2024

Open Res Europe

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This article explores the configuration of collective memory under the impact of the digital turn. In recent debates, there has been a marked tendency to interpret ‘digital memory’ as a new type of memory, which is radically different from the traditional conceptualization. Even leading authors in the field claim that the digital revolution implies the end of collective memory. However, I argue that despite the transformations that memory undergoes in the digital age, these changes do not imply a new ontology of memory but rather a materialization of the theoretical claims made by Memory Studies since the field's inception. To support this hypothesis, I analyze digital memory in relation to three topics: first, I focus on the problematic definition of collective memory to demonstrate how the digital realm allows us to rethink the social nature of memory through a different concept of the social. By contrasting Halbwachs' notion of the social, which forms the basis of memory studies, with the alternative proposal of Gabriel Tarde, I argue that the latter enables us to refine the concept of the ‘collective’ that we have inherited from the founding figure of memory studies. Second, I delve into the new ontology of the digital archive showing how it materializes one of the defining features of collective memory: its mobile, dynamic, and procedural nature. Lastly, I address the inversion of the dialectic between memory and forgetting to highlight the specificity of these practices in the digital environment. I demonstrate how these changes effectively implement, surpassing older technologies, the concept of collective memory as a distributed and dynamic technological process that shapes our shared representations of the past.

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Section: The Archive In Motionmentioning

confidence: 99%

Memory in the digital age

Mandolessi

2024

Open Res Europe

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“…35 Honouring Esther was a speculative somatic and digital exploration of these catalysts to affect and knowing. Seeking to 'become answerable for what we learn and see', 36 Lorna and I curated from Holocaust 'archive' towards interventions and provocations contributing to the 'repertoire' of Holocaust memory 37 .…”

Section: Research-creationmentioning

confidence: 99%

“…The challenge was to honour the original purpose of recording the testimony and to renew their agency. After Taylor's conceptual framework, 69 our intention was to retrieve these items from the 'Archive', engage with and renew their currency, and repatriate and return them as part of a living 'Repertoire'.…”

Section: Accessing the Archivementioning

confidence: 99%

Walking-with, re-membering the Holocaust:Forced Walks: Honouring Esther, a case study of somatic and digital creative practice

White

2021

Holocaust Studies

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The article explores a creative somatic and digital intervention working with Holocaust memory retrieved from archive testimony. A walking and multi-media arts approach renewing agency in Holocaust testimony and generating contemporary resonances is introduced. Forced Walks is a programme of speculative, socially engaged experiments, initiated by artists Richard White and Lorna Brunstein. Honouring Esther , the first Forced Walks project, walked the route of a Nazi Death March digitally transposed to Somerset (UK), subsequently retracing it in Lower Saxony, Germany. The project worked with the digitised testimonies of survivors and witnesses including that of the eponymous Esther. Making public anniversaries personal and personal anniversaries public, the first walk took place on the seventieth anniversary of the liberation of Belsen, and the second on the seventy-first of Esther's arrival at the Bergen-Belsen death camp. Juxtaposing registers of walking and curated interventions generated empathic dialogues, the project engaged walkers in co-creating an immanent reflective space materialised in mark-making, social media and installation. The paper reviews the use of mobile media and social networking, and discusses the catalysing of affect and involuntary thought. An emergent hybrid somatic/digital process, 'making the return' in a specific Holocaust context is presented.

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The Archive and the Repertoire: Performing Cultural Memory in the Americas (review)

Cited by 2 publications

References 0 publications

Memory in the digital age

Memory in the digital age

Walking-with, re-membering the Holocaust:Forced Walks: Honouring Esther, a case study of somatic and digital creative practice

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