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Can reenactments be a way to create counter-narratives in and for the museum? Through the analysis of political performance (or what the artist Tania Bruguera calls 'political-timing-specific' artworks), this essay discusses the potential of reenactment as both a practice of materializing memories and narratives of oppression and of rethinking museum policies in terms of preservation and display. Its main argument is that, while the archive can be regarded as a form of materializing the memory of these works, reenactment is more than a way of recovering the past; it is also a device for reconstructing memories of activism and oppression. This essay further suggests that reenactments of political-timing-specific works demand a change in accessioning, conservation, and presentation practices, which might be inclined to erase decentralized art-historical and material narratives.
The Atlas Group created a digital mixed-media archive of contemporary Lebanese history, made up of produced and found documents. These archives look immediately ambiguous: they don't collect historical documents; they actually contain visual artefacts created by the Lebanese artist Walid Raad. These digital mixed-media archives - partly accessible on the web but also physically exhibited and performed - are not intended to preserve the memory of the past, but they become indeed useful to actualize history by giving it back in the form of a historical fiction. What if archives should not deal with memory, but with amnesia? And what kind of historical temporality do they re-activate?
The de-constitution of the 'I' is at the centre of Manuele Gragnolati's essay 'Differently Queer: Temporality, Aesthetics, and Sexuality in Pier Paolo Pasolini's "Petrolio" and Elsa Morante's "Aracoeli"'. The essay explores the relationship between temporality, aesthetics, and sexuality in the final novels of two twentieth-century Italian authors: Pasolini's "Petrolio" (1972–75) and Morante's "Aracoeli" (1982). Both novels mobilize a form of temporality that resists a sense of linear and teleological development and that instead appears contorted, inverted, and suspended. The article argues that both novels thereby allow for the articulation of queer desires and pleasures that cannot be inscribed in normative logics of completion, progression, or productivity. It shows how the aesthetics of Pasolini's and Morante's texts replicate the movement of queer subjectivity and dismantle the traditional structure of the novel but do so differently. The fractured and dilated movement of "Petrolio's" textuality corresponds to a post-Oedipal and fully formed subject who is haunted by his complicity with bourgeois power and wants to shatter and annihilate himself by replicating the paradoxical pleasure of non-domesticated sexuality. "Aracoeli", by contrast, has a 'formless form' ('forma senza forma') that corresponds to the position of never completing the process of subject formation by adapting to the symbolic order. The poetic operation of Morante's novel consists in staging an interior journey, backwards along the traces of memory and the body and at the same time forward towards embracing the partiality and fluidity of an inter-subjectivity that is always in the process of becoming.
Residual connections have been proposed as an architecture-based inductive bias to mitigate the problem of exploding and vanishing gradients and increased task performance in both feed-forward and recurrent networks (RNNs) when trained with the backpropagation algorithm. Yet, little is known about how residual connections in RNNs influence their dynamics and fading memory properties. Here, we introduce weakly coupled residual recurrent networks (WCRNNs) in which residual connections result in well-defined Lyapunov exponents and allow for studying properties of fading memory. We investigate how the residual connections of WCRNNs influence their performance, network dynamics, and memory properties on a set of benchmark tasks. We show that several distinct forms of residual connections yield effective inductive biases that result in increased network expressivity. In particular, those are residual connections that (i) result in network dynamics at the proximity of the edge of chaos, (ii) allow networks to capitalize on characteristic spectral properties of the data, and (iii) result in heterogeneous memory properties. In addition, we demonstrate how our results can be extended to non-linear residuals and introduce a weakly coupled residual initialization scheme that can be used for Elman RNNs.
Recent findings indicate that visual feedback derived from episodic memory can be traced down to the earliest stages of visual processing, whereas feedback stemming from schema-related memories only reach intermediate levels in the visual processing hierarchy. In this opinion piece, we examine these differences in light of the 'what' and 'where' streams of visual perception. We build upon this new framework to propose that the memory deficits observed in aphantasics might be better understood as a difference in high-level feedback processing along the ‘what’ stream, rather than an episodic memory impairment.
Despite the recent popularity of predictive processing models of brain function, the term prediction is often instantiated very differently across studies. These differences in definition can substantially change the type of cognitive or neural operation hypothesised and thus have critical implications for the corresponding behavioural and neural correlates during visual perception. Here, we propose a five-dimensional scheme to characterise different parameters of prediction. Namely, flow of information, mnemonic origin, specificity, complexity, and temporal precision. We describe these dimensions and provide examples of their application to previous work. Such a characterisation not only facilitates the integration of findings across studies, but also helps stimulate new research questions.
Beyond well-established difficulties with working memory in individuals with attention deficit hyperactivity disorder (ADHD), evidence is emerging that other memory processes may also be affected. We investigated, first, which memory processes show differences in adults and adolescents with ADHD in comparison to control participants, focusing on working and short-term memory, initial learning, interference, delayed and recognition memory. Second, we investigated whether ADHD severity, co-occurring depressive symptoms, IQ and physical fitness are associated with the memory performance in the individuals with ADHD.
We assessed 205 participants with ADHD (mean age 25.8 years, SD 7.99) and 50 control participants (mean age 21.1 years, SD 5.07) on cognitive tasks including the digit span forward (DSF) and backward (DSB), the Rey Auditory Verbal Learning Test (RAVLT), and the vocabulary and matrix reasoning subtests of the Wechsler Abbreviated Scale of Intelligence. Participants with ADHD were additionally assessed on ADHD severity, depression symptoms and cardiorespiratory fitness. A series of regressions were run, with sensitivity analyses performed when variables were skewed.
ADHD-control comparisons were significant for DSF, DSB, delayed and recognition memory, with people with ADHD performing less well than the control participants. The result for recognition memory was no longer significant in sensitivity analysis. Memory performance was not associated with greater ADHD or depression symptoms severity. IQ was positively associated with all memory variables except DSF. Cardiorespiratory fitness was negatively associated with the majority of RAVLT variables.
Individuals with ADHD showed difficulties with working memory, short-term memory and delayed memory, as well as a potential difficulty with recognition memory, despite preserved initial learning.
This essay argues for the philosophical standing of Walter Benjamin’s early work and posits a deeper continuity between this early work as a philosopher and the subsequent development of his work as a writer. When these fragments are read in proper relation to each other, they reveal for the first time many of the key innovations of Benjamin as a philosopher, as well as his points of influence on Horkheimer and Adorno. His early ‘Program’ critiques the Enlightenment conception of experience as a means for gaining empirical knowledge, and announces the need for a new concept of experience. Benjamin follows through on this program with a method of philosophical enquiry that is by turns fragmentary and constellational, developing a series of provisional notions of experience, which form a constellation with one another: perception, mimesis, language as a medium of experience, observation and memory.