Performing Memory in Art and Popular Culture by Liedeke Plate, Anneke Smelik - roweqicyqy.ga
Things make us remember and forget , yet we also use things to bring about remembrance or forgetfulness. We therefore argue that memory is both mental and material. The conference foregrounds the materiality of memory by investigating the vital relations between past and present, absence and presence, and remembrance and object.
We thus interrogate the material transfers through which cultural memories of the past are expressed and circulated in art, media and popular culture. These transfers produce, re-present and transform mediated memories, literally giving shape to them in words, images, and objects. The conference pays as much attention to how we remember, create and re-create memories as to what we remember.
Cultural memory is taken as both an active process and a dynamic practice. In such processes and practices of remembering, objects and things are endowed with meaning, agency and affect.
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This raises the question how cultural memory plays a role in the social and cultural life of objects. That role will entail a study of the interaction between the materiality of memory, its affective nature, and its ideological frameworks. He is leader of the research group 'Memory, Materiality, and Meaning in the Age of Transnationalism'.
“Lo popular”/Popular Culture: Performing the Borders of Power and Resistance
Her research focuses on literature, gender and cultural memory. She has published widely in the field of fashion, cinema, popular culture and cultural memory. Prelude: The Memory Cabinet of Mrs. War in Afghanistan and Iraq Laszlo Muntean. Du kanske gillar. Permanent Record Edward Snowden Inbunden.
Olga Goriunova. Pete Bennett. Allen Meek. Liedeke Plate. Brian McNair.
Art and Memory
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Performing memory in art and popular culture
Harry Potter. Popular Features. New Releases. Performing Memory in Art and Popular Culture. Description This volume pursues a new line of research in cultural memory studies by understanding memory as a performative act in art and popular culture. The authors take their cue from the observation that art and popular culture enact memory and generate processes of memory.
They do memory, and in this doing of memory new questions about the cultural dimensions of memory arise: How do art objects and artistic practices perform the past in the present?
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What is their relationship to the archive? Does the past speak in the performed past or do we speak to it? To what purpose do objects "recall"?
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