Install Theme

Last Year at Marienbad (Alain Resnais, 1961)

Memento (Christopher Nolan, 2000)



Lisa and Louise Burns, who played the Grady twins in The Shining, visit their iconic dresses at the Stanley Kubrick Exhibit at the National Museum in Krakow, Poland.


The street view function of Google Maps seems tailor made for such Proustian reveries. Like memories, it’s full of gaps. Places that you ought to be able to find aren’t there. Places you never thought you’d see again are suddenly at your fingertips. What fascinates me is the power to recreate: to walk down streets you’d long forgotten and to recognize the incongruous, some detail that brings the past flooding back to you. (via What would Proust do with Google Maps? | viz.)

" It is a nostalgic time right now, and photographs actively promote nostalgia. Photography is an elegiac art, a twilight art. Most subjects photographed are, just by virtue of being photographed, touched with pathos. An ugly or grotesque subject may be moving because it has been dignified by the attention of the photographer. A beautiful subject can be the object of rueful feelings, because it has aged or decayed or no longer exists. All photographs are memento mori. To take a photograph is to participate in another person’s (or thing’s) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time’s relentless melt. "

- Susan Sontag, On Photography, 1977

Charles Fernyhough: “Roughly four decades of research (with historical precedents that stretch back much further) tell us that [autobiographical] memory is essentially reconstructive. A memory is stitched together in the present moment from several different kinds of information, in a process that’s subject to the current beliefs and biases of the person doing the remembering. But surveys tell us that many people remain wedded to a view of memories as immutable, static possessions. Why do we get memory so wrong? One possible reason is that memories are precious to us: they define us in many ways, and so we react with discomfort to the idea that they are the constructions of a story-telling mind.” (via Top 10 books on memory | Books |

Darran Anderson: Where, when, why is Scarfolk?
Richard Littler: Scarfolk is a town stuck in a perpetual loop of the 1970s. It’s in the northwest of England, but it could be almost anywhere in Britain. I created it because I’m in interested in, amongst other things, memory and how it changes. Memories are relative; they give the illusion of objectivity, but of course they’re actually highly subjective, dynamically so, and are defined as much by the changing present as the past. I initially wanted to preserve my earliest childhood memories before I lose them completely. I wanted to create an archive of sorts. But I’m also a bit like that Spanish woman who botched the Ecce Homo painting and created ‘potato Jesus’ – I fill in the inevitable gaps in memories and ultimately create something different to a ‘restoration’. (via Features - Honest Ulsterman)

"Yes, the ubiquity of a once dominant media is again receding. Like most of the technology we leave behind, CDs are are being forgotten slowly. Eventually, even the fragments disappear. No more metallic shards of broken discs glinting from the gutter. No more old strands of tape cassette tangled in tree branches like tinsel. We stop using old formats little by little. They stop working. We stop replacing them. And, before long, they’re gone." (via The Library of Congress Wants to Destroy Your Old CDs (For Science) - Adrienne LaFrance - The Atlantic)