[...] several different means of organizing knowledge..
graphical representation, capable of developing further degrees of complexity
“form”
recreate the ‘form’ (form
within (this/a) variable system
“text” as sequences of cords
memorization (the creation of mnemonic relation) necessarily implies the modular organization of the knowledge it represents
constitutive dualism in many forms of the art of memory
possible course between the twin rocks of writing
at the end it is the mental operation
(techniques of thought)
the image plays a central role in the construction of relations between (visual) themes and particularity of words, which in turn help organize narratives
these all were technical or formal questions so far
memory is a way consistency maintains itself
civil society is afraid of personal recollections and perverse databases, digital collections
is khm’s archive a state sponsored memorialization, monuments of a consistent history? (that assumes a sublime ending?)
the immemorial (in memorial)
have a strong philosophy of technology with this project
there is never merely a technological question, always already ontological
who wants to remember, solidify, and memorialize?
and for whom?
building a technological temple of memory, khm aesthetic narrative of its own history?
(first there is one big account of property that all these fragmented histories of numerous people who worked in khm are singed under one signature, of khm)
should we disavow any notion of “spirit” in khm?
we must agree that khm's render of its own history is pure aesthetic what so ever.
we must remain committed to the experimental, when dealing with archival domains in the school of media art where experimentation was in its original conception and foundational roots (as Zielinski expresses in one interview
arte
DAS KURZFILM-MAGAZIN
KURZSCHLUSS
Siegfried Zielinski im Interview
http://cinema.arte.tv/de/artikel/siegfried-zielinski-im-interview
hybrid objects?
is the logistic characteristic of digital data inconsistent with the hybrid objects of art?
Forms of thought, from what Lévi-Strauss called the “systematization
(Jakobson)
transmutation
data ontology
what is the point of view of rationality in this for us?
(what is the point of view in witchcraft? knowledge is a performative recipe)
what is the point in point of view?
(Jorge Luis Borges - ‘Funes the Memorious’ in ‘Labyrinths
in Borges story, Funes, the character unable to forget is incapable of the concept of ‘general’
solitary and lucid spectator of
not capable of thought
in order to sleep, he had to imagine a direction he would turn his face, made of homogeneous darkness
“To think is to forget differences, generalize, make abstractions.”
Borges ‘homogeneous darkness’ is what we as forgetful immortals afraid of to turn to?
maybe the directions we sleep into, orientation to the cosmos?!
is archive naturally and necessarily generated (out of regular form of activity)?
a (technologically implemented) beyond
the drive to animate and mobilize; and the drive to conserve, to fix, and so forth, are mutually constitutive for modern imagery and media (from museum to archive)
archive performs a strange dialectics
to see the archive as a technological rational question, and engineering assignment, is to naively avoid the thinking about your own activity as a constructive activity
depriving yourself of any tools to act
is archive a tool to act?
the agency of an archive..
“other ways” of composing?
marking its territory? how to make a map without giving way to the territory as an extension of the map?
the mechanical extension, Res extensa, the (descartian) extended thing, the visualizing technologies, technical drawings, has been so strong that the temptation so say “well, that's what the world is really like” is very great, especially when your foreground is all of the engineering talents and engineering skills that are necessary to assemble.
to attribute strangeness...
what ‘will’ you inherit?
you have little idea of what will you inherit
(other way of not thinking about your activity now)
false remembrance, displaced memory, that actually repeatedly represses and disturbs ‘giving’
any remembrance involves forgetting
an official call for design an archive from khm also invoked that the institution is ready to forget, announces institutional forgetting, and disavows remembrance
remember includes the lost-member, bringing my member, the phalus (in English ‘member’ also means the male organ of copulation)
Hegel makes a distinction of two modalities of memory
(1) ‘Erinnerung’ (internalized memory, which is situated in the heart), (it could also be hallucinatory, might dependent on an interiority that isn't there!);
(2 and this one concerns archive) ‘Gedechnis’ (technological memory, a supplement or prosthetic device that reminds you.
Plato's doctrine that all learning is the recollection (anamnésis) of things previously known but later forgotten casts a shadow over the idealists’ uses of Erinnerung.
is any act of remembrance also a traumatic experience? (Freudian take on memory)
can we think of a non-traumatic gesture of socialization of memory? or memorial activity “has” to be violent in order to be remembered? (
like i said before, “who” wants to remember?
(masculinity is written all over this anxiety-ridden remembrance
trauma makes available, brings back lost objects to the consciousness, in a psychoanalytical sense. is then the digital archive an absolute oblivion?
///////// newer notes, saved in 11 September 2016 /////////
-inappropriable remainder(s)
memory/remember is sojourn
the importance of archive is today perhaps not in creating one but in reading them.
being enfolded is often a strategy for survival (?,
(Akira Mizuta
histories for which the present is not ready
(how not?)
(art's will and the judgment of value that informs it...) Kunstwollen's desire to grow and travel
() the opposition between keeping and putting away, preservation and cancelation.
archive
...when fully lit and relatively flat
Derrida
archive's Foucauldian “space of appearance”
constructed as ex-territorial and as a receptacle (makhzan) for the past
archive is not a fortress external to our world, with us as its pilgrims
(the ontological performance of filling a document)
(a constellation, aimed at distancing and disturbing us)
collecting
extracting
cataloguing
(for Freud
(for Nietzsche
(Bataille after Nietzsche
within the political art domain the “I feel your pain” has sympathetic currency. one is punished by drawing public attention to their pleasures
(I feel your pleasures
processing is largely parallel, while, attention is largely serial
disciplines of the modern subject
(in artistic work the unsolved issue remians
a dangerous arrow of time that is constituted and announced
-how do we attend the histories of implication and attachment?
futurity
trauma
how can history tell?
history, a compensatory device?
gist
http://www.ics.uci.edu/
Grand Historiographer, Sima Qin (1994
(to think of) memory as a construction of the present
analyzing organizational memory
organizing analytical memory
memorizing organizational analysis
work on ajayeb and my ongoing commentary on archive and memory is part and parcel of the organizational theory
not to forget that
organizational forgetting
if your work is an intermediary profession invisible and removed at the earliest opportunity from the official record, create a “
other systems (to organize and critique your accumulation of experience)
in my hypertext writing, am i trying to enable myself to talk about my work in a language that computers could understand?
(do we need?) to get at (and maintain?) the deep structure of the one's situation
(my issue with)
(in working with bestiaries my research question
-(which professions act as) distributed memory system (for who?)
-(what blocks between) internal memory and external memory
...when technicians/artists seeking new ways of writing (scientific/poetic) papers so that their work gets acknowledged
the classification systems we are giving to embed in the tools and reports we give in apass
(in apass problematically we are asked to) copy the transparency of our activity from one representational space (internal memory, nomenclature, past events, paper) to another (computerized record, giving a talk, time-framing) (