By Sebastian Groes
This publication maps and analyses the altering nation of reminiscence at first of the twenty-first century in essays written by way of scientists, students and writers. It recontextualises reminiscence via investigating the impression of recent stipulations similar to the electronic revolution, weather swap and an getting old inhabitants on our world.
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Additional resources for Memory in the Twenty-First Century: New Critical Perspectives from the Arts, Humanities, and Sciences
1 Metaphors of Memory: From the Classical World to Modernity Corin Depper How can memory be understood if not through metaphor? It seems that every attempt at definition has necessitated this shift towards the figurative; each age calling forth a new language for tracing the contours of remembering, with these new-minted metaphors sometimes struggling to keep up with humanity’s desire to plumb the depths of its own past. The aim of this chapter is to examine the evolution of this language, to explore how metaphors have shaped our understanding of the mind.
Metaphors are devious, as they have the tendency to mask their representational nature. It’s easy to forget that the tenor and the vehicle are not similar; that they are based on an analogy or a strong association with striking, emotional associations. Corin Depper kick-starts Part I with a historicization of such metaphors of memory. He makes a distinction between two approaches. Firstly, he investigates proto-modern images which represent memory as fixed and immutable, such as Plato’s wax tablet and the memory theatre, which suggest that the original experience can be retrieved in the act of memory.
Michel Gondry 2014) and Ex Machina (Dir. Alex Garland 2015)? If computation does not suffice as a metaphor, should we return, then, to the existing humanist archive of images? Draaisma sees in Freud’s Wunderblock, or magic slate, the best metaphor: Like the magic slate, psychology seems to have two memories. The celluloid sheet on the surface seems to have two memories. The celluloid sheet on the surface receives stimuli and can easily be wiped clean. It is always available for new notes. Everything that is written on that celluloid sheet finds its way into a deeper layer of wax, but this layer is very difficult to access.