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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.
Neste artigo, proponho a aproximação do poema "Engführung" (1958), do poeta Paul Celan, com o ensaio "Cascas" (2011 [2017]), do historiador de arte francês Georges Didi-Huberman, tomando como ponto de partida a ideia de percurso que atravessa ambas as obras. Para tanto, baseio-me nas leituras que Joachim Seng faz do poema de Celan (1992; 1998), nas quais lê "Engführung" como um trajeto do eu-poético pelo campo de concentração (Auschwitz) que é, ao mesmo tempo, campo da memória e linguagem. Em "Cascas", Didi-Huberman relata o percurso da sua visita a Auschwitz, enfocando o papel do olhar na realização do trabalho da memória. Nesse sentido, ao posicionar lado a lado o poema e o ensaio, estes parecem apontar para modos de olhar e dizer Auschwitz que colocam para o leitor as tensões inerentes a este movimento, não se omitem desta tarefa ética e refletem criticamente a postura individual e coletiva diante da lacuna do testemunho e do que resta do campo de concentração.
O passado histórico da Alemanha figura não apenas em textos de caráter biográfico, mas também em produções ficcionais que objetivam lançar um olhar singular para diversos fatos reais que penetram na história do país. Os horrores do Holocausto, das duas Guerras Mundiais, a questão da divisão da Alemanha e da Queda do Muro de Berlim são eventos que perpassaram, e ainda perpassam, várias gerações que vivenciaram ou que questionam o desenrolar desses acontecimentos. A literatura surge, deste modo, como um dos meios que promovem não somente a discussão sobre as diferentes formas de lidar com esse passado tão presente, mas antes como uma espécie de palco onde as várias histórias dessas inúmeras gerações ganham voz. Bernhard Schlink parece querer, por meio de uma viagem temporal pelos principais episódios da Alemanha contemporânea, proporcionar a reflexão sobre o passado alemão sob a perspectiva dos filhos e dos pais, dos perpetradores e das vítimas. Desta forma, pretendeu-se, aqui, analisar de maneira breve as relações entre gerações presentes em algumas obras do autor e compreender como elas impactam a questão da culpa e da superação do que se passou naquela sociedade.
Leidtragende Körper
(2019)
Warlam Schalamow (1907–1982) ist der einzige Schriftsteller in der russischen Literatur des 20. Jahrhunderts, der dem Körpergedächtnis für sein eigenes Schreiben wie für das menschliche Gedächtnis an sich besonderen Stellenwert beimaß. Nahezu all seine überlieferten Prosatexte und Gedichte sind nach den vierzehn Jahren Gefangenschaft in den Lagern der Kolyma-Region, am Kältepol der Erde, verfasst worden. Alles, was er dort, am "Pol der Grausamkeit" des GULag durchleben musste, hat sich unauslöschlich in sein Gedächtnis wie in seinen Körper eingebrannt. Die Goldgrube der Kolyma, in der die Häftlinge bei Temperaturen bis zu minus 55 Grad arbeiten mussten, ließ den Überlebenden zeitlebens nicht los. Seinen eigenen Erfahrungen entnahm Schalamow ein neues, erschreckendes Wissen über die Verfasstheit des Menschen, über "das Gesetz des Verfalls" ebenso wie über "das Gesetz des Widerstands gegen den Verfall". Dieses Wissen mit literarischen Mitteln gegen das Vergessen wachzuhalten, hieß vor allem eines: "Wichtig ist das Wiedererwecken des Gefühls". Eben dieses Heraufholen des damaligen Gefühls ist für ihn die Garantie von Wahrhaftigkeit.
Es geht im Folgenden darum, nach Berührungspunkten und Unterschieden zwischen Kosellecks Zugang und dem Warburgs zu fragen. Dies erfolgt in einer – selbstverständlich nur sehr ausschnitthaften, auf einige methodische Grundannahmen beschränkten – parallelen Lektüre, die Kosellecks und Warburgs Verständnis bildlicher und begrifflicher Semantiken und der Bedeutung von Epochenschwellen für deren Wandel zueinander in Beziehung setzt. Das durch die Tagung thematisierte Spannungsfeld "Bild – Begriff – Epoche" würde sich zu einer sehr viel umfassenderen und über diese beiden Autoren hinausgehenden Bestandsaufnahme eignen, um Parallelen, Bezugnahmen und Unterschiede zwischen Begriffsgeschichtsforschung und (politischer) Ikonologie, zwischen dem Projekt der Geschichtlichen Grundbegriffe und den Forschungsprogrammen an der Kulturwissenschaftlichen Bibliothek Warburg (KBW) zu untersuchen.
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.
At present, there is a huge lag between the artificial and the biological information processing systems in terms of their capability to learn. This lag could be certainly reduced by gaining more insight into the higher functions of the brain like learning and memory. For instance, primate visual cortex is thought to provide the long-term memory for the visual objects acquired by experience. The visual cortex handles effortlessly arbitrary complex objects by decomposing them rapidly into constituent components of much lower complexity along hierarchically organized visual pathways. How this processing architecture self-organizes into a memory domain that employs such compositional object representation by learning from experience remains to a large extent a riddle. The study presented here approaches this question by proposing a functional model of a self-organizing hierarchical memory network. The model is based on hypothetical neuronal mechanisms involved in cortical processing and adaptation. The network architecture comprises two consecutive layers of distributed, recurrently interconnected modules. Each module is identified with a localized cortical cluster of fine-scale excitatory subnetworks. A single module performs competitive unsupervised learning on the incoming afferent signals to form a suitable representation of the locally accessible input space. The network employs an operating scheme where ongoing processing is made of discrete successive fragments termed decision cycles, presumably identifiable with the fast gamma rhythms observed in the cortex. The cycles are synchronized across the distributed modules that produce highly sparse activity within each cycle by instantiating a local winner-take-all-like operation. Equipped with adaptive mechanisms of bidirectional synaptic plasticity and homeostatic activity regulation, the network is exposed to natural face images of different persons. The images are presented incrementally one per cycle to the lower network layer as a set of Gabor filter responses extracted from local facial landmarks. The images are presented without any person identity labels. In the course of unsupervised learning, the network creates simultaneously vocabularies of reusable local face appearance elements, captures relations between the elements by linking associatively those parts that encode the same face identity, develops the higher-order identity symbols for the memorized compositions and projects this information back onto the vocabularies in generative manner. This learning corresponds to the simultaneous formation of bottom-up, lateral and top-down synaptic connectivity within and between the network layers. In the mature connectivity state, the network holds thus full compositional description of the experienced faces in form of sparse memory traces that reside in the feed-forward and recurrent connectivity. Due to the generative nature of the established representation, the network is able to recreate the full compositional description of a memorized face in terms of all its constituent parts given only its higher-order identity symbol or a subset of its parts. In the test phase, the network successfully proves its ability to recognize identity and gender of the persons from alternative face views not shown before. An intriguing feature of the emerging memory network is its ability to self-generate activity spontaneously in absence of the external stimuli. In this sleep-like off-line mode, the network shows a self-sustaining replay of the memory content formed during the previous learning. Remarkably, the recognition performance is tremendously boosted after this off-line memory reprocessing. The performance boost is articulated stronger on those face views that deviate more from the original view shown during the learning. This indicates that the off-line memory reprocessing during the sleep-like state specifically improves the generalization capability of the memory network. The positive effect turns out to be surprisingly independent of synapse-specific plasticity, relying completely on the synapse-unspecific, homeostatic activity regulation across the memory network. The developed network demonstrates thus functionality not shown by any previous neuronal modeling approach. It forms and maintains a memory domain for compositional, generative object representation in unsupervised manner through experience with natural visual images, using both on- ("wake") and off-line ("sleep") learning regimes. This functionality offers a promising departure point for further studies, aiming for deeper insight into the learning mechanisms employed by the brain and their consequent implementation in the artificial adaptive systems for solving complex tasks not tractable so far.