Install Theme

Monique Miggelbrink: “One possible method for considering the complex relationship between content and form in contemporary television dramas may be drawn from a 1988 article in The American Historical Review in which Hayden White discussed the relationship between history in words—’historiography’—and history in images—’historiophoty’. White asserts that both forms are not simply marked by difference, as it is often assumed by historians, but are unified in the basic fact that neither can ever depict historical events objectively. Every medium shapes its content according to its own nature, no matter if it speaks the language of the written word or the filmic image. Concerning Mad Men, one has to consider its visualization of history and, perhaps even more importantly, its serialization of history as its message. Telling history through the modes of seriality and narrative complexity establishes a deepened narrative scope that is not driven by linearity and closure, but provides space for historical complexity.” (via Serializing the Past: Re-Evaluating History in Mad Men | InVisible Culture)

Analogue video still

(Source: sofachips, via vhspositive)

Ghostly gifs made from archive photos – the haunting work of Kevin Weir.
The New York-based designer’s animation project The Flux Machine transforms old images into surreal stories, giving the dead an eerie afterlife (via Ghostly gifs made from archive photos – the haunting work of Kevin Weir | Art and design | The Guardian)

" Counter-memory is a way of remembering and forgetting that starts with the local, the immediate, and the personal. Unlike historical narratives that begin with the totality of human existence and then locate specific actions and events within that totality, counter-memory starts with the particular and the specific and then builds outwards toward a total story. Counter-memory looks to the past for the hidden histories excluded from dominant narratives. But unlike myths that seek to detach events and actions from the fabric of any larger history, counter-memory forces revision of existing histories by supplying new perspectives about the past. "

- George Lipsitz, 1990 (via memoryandmedia)

Using children’s modelling dough to recreate famous photographs, Eleanor Macnair’s colourful portraits provide a playful twist on well-known masterpieces. ‘I had no idea,’ she says, ‘that Play-Doh could emote’. (via Posed in Play-Doh - in pictures | Art and design | The Guardian)

Chris Marker: “My working hunch was that any memory, once it’s fairly long, is more structured than it seems. That after a certain quantity, photos apparently taken by chance, postcards chosen according to a passing mood, begin to trace an itinerary, to map the imaginary country that stretches out before us. By going through it systematically I was sure to discover that the apparent disorder of my imagery concealed a chart, as in the tales of pirates. And the object of this disc would be to present the ‘guided tour’ of a memory, while at the same time offering the visitor a chance for haphazard navigation. So, Welcome to ‘Memory, Land of Contrasts’ – or rather, as I’ve chosen to call it, ‘Immemory’.” (via Immemory by Chris Marker - Chris Marker)

Selected Memories From The Haunted Ballroom, by The Caretaker. This 1999 album is a forerunner to the current wave of “hauntological” music, and was apparently inspired by the haunted hotel in Stanley Kubrick’s The Shining (1980).

(via memoryandmedia)

"More than anything, Boards Of Canada’s aesthetic posture seems to have come back into vogue. ‘Nostalgic’ appears to have become critical shorthand for a very particular set of sonic criteria: melodic music, often of a postmodern disposition, that has been degraded or obscured to some degree. It’s now de rigeur for producers born in the mid-1990s to reference long-defunct technologies (tape hiss, mildewy timbres) as a means of articulating yearning, as if the vocabulary of wistfulness was fixed during the Age of the Betamax. I’d argue that Boards Of Canada – as a result of their popularity as well as their talent – did more than anyone else to codify the way in which contemporary listeners understand nostalgia." (via The Essential… Boards Of Canada – FACT magazine: music and art)

(via memoryandmedia)

"Most hauntological music has taken a playful approach to the past. Ghost Box’s nostalgic avant-electronica has appealed to more esoteric and largely British tastes, but Burial, Broadcast and The Focus Group’s Witch Cults Of The Radio Age (2009) and, more recently, Demdike Stare’s pulp-horror beats and library loops, have opened the pool of references and aesthetics out to a wider audience." (via Hauntologists mine the past for music’s future - Boing Boing)

(via memoryandmedia)

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)

(via memoryandmedia)