Suchergebnisse

RESUMEN: Expone la hipótesis según la cual los artefactos de memoria, creados para recordar a las víctimas del conflicto armado colombiano, son una expresión de las memorias subterráneas y una forma de acción política en medio de la guerra. Se analizan tres casos de construcción de artefactos en Medellín como formas de padecer, percibir y resistir de los sujetos frente al poder de los grupos armados en la ciudad. El silencio inherente a estos objetos no debe ser entendido como ausencia de lenguaje, sino como otra forma de expresión de la memoria. El silencio es una táctica empleada para sobrellevar las pérdidas y rearmar una cotidianidad en contextos de violencia prolongada. ; ABSTRACT: This article exposes the hypothesis that memory artifacts, created to commemorate the victims of armed conflict in Colombia, are an expression of the underground memories and a way of political action in the midst of war. We analyze three cases of creations of memory artifacts in Medellín, Colombia, as forms of suffering, perceiving and resisting the power of armed groups in Medellín. The silence, inherent in these objects, should not be treated as an absence of language, but as another form of expression of memory. Silence is a tactic used to overcome losses and reset everyday life in contexts of protracted violence.

Expone la hipótesis según la cual los artefactos de memoria, creados para recordar a las víctimas del conflicto armado colombiano, son una expresión de las memorias subterráneas y una forma de acción política en medio de la guerra. Se analizan tres casos de construcción de artefactos en Medellín como formas de padecer, percibir y resistir de los sujetos frente al poder de los grupos armados en la ciudad. El silencio inherente a estos objetos no debe ser entendido como ausencia de lenguaje, sino como otra forma de expresión de la memoria. El silencio es una táctica empleada para sobrellevar las pérdidas y rearmar una cotidianidad en contextos de violencia prolongada.

This article exposes the hypothesis that memory artifacts, created to commemorate the victims of armed conflict in Colombia, are an expression of the underground memories and a way of political action in the midst of war. We analyze three cases of creations of memory artifacts in Medellín, Colombia, as forms of suffering, perceiving and resisting the power of armed groups in Medellín. The silence, inherent in these objects, should not be treated as an absence of language, but as another form of expression of memory. Silence is a tactic used to overcome losses and reset everyday life in contexts of protracted violence. ; Expone la hipótesis según la cual los artefactos de memoria, creados para recordar a las víctimas del conflicto armado colombiano, son una expresión de las memorias subterráneas y una forma de acción política en medio de la guerra. Se analizan tres casos de construcción de artefactos en Medellín como formas de padecer, percibir y resistir de los sujetos frente al poder de los grupos armados en la ciudad. El silencio inherente a estos objetos no debe ser entendido como ausencia de lenguaje, sino como otra forma de expresión de la memoria. El silencio es una táctica empleada para sobrellevar las pérdidas y rearmar una cotidianidad en contextos de violencia prolongada. ; Expõe a hipótese de que os artefatos da memória, criados para lembrar às vitimas do conflito armado colombiano, são uma expressão das memórias subterrâneas, uma forma de ação política no meio da guerra. São analisados três casos de construção de artefatos como formas de padecer, perceber e resistir frente ao poder dos grupos armados na cidade de Medellín, Colômbia. O silêncio inerente a esses objetos não deve ser entendido como ausência da linguagem, pelo contrario, é uma forma de expressão da memória. O Silêncio é uma tática usada para sobrelevar as perdas e rearmar uma cotidianidade num contexto de violência prolongada.

The principal goal of this article is to study domestic artifacts in Masulih's houses. This article points to the multidimensionality of domestic artifacts which can be categorized as being signifiers of research respondent's beliefs and values, being part of the household's social relations, and eliciting memories of the household. Research findings also highlight that some domestic artifacts have a life cycle and go through various phases in their life span. Qualitative research methods were used for data collection. Various extended field works were conducted in Masulih's houses between 2008 and 2019. The principal techniques used for data collection were object interview, photo elicitation, and participant observation. The principal focus of interview sessions was on displayed objects and photographs in Masulih's houses. During various interview sessions, respondents were asked to describe and narrate the stories of their domestic artifacts. Respondent narratives regarding their domestic artifacts highlight that the mentioned artifacts can be part of a complex web which mainly contains local inhabitants, houses, landscapes, memories, rituals, and values and beliefs. Furthermore, the study of domestic artifacts suggests that Masulih houses should not be considered solely as sites for the consumption of artifacts but places for the production of artifacts such as textiles. In this way, it can be said that local inhabitants are in constant connection with artifacts.

Presentación del dossier.

This article draws on psychoanalysis to theorize artifacts as data in a postsecondary classroom setting. Psychoanalytic theory offers nuanced frames through which to interpret this data. What psychoanalysis alerts us to are the multiple and as such irreducible meanings of experience. Importantly psychoanalysis allows reading of this data for its affective moments. What does it mean for students to bring personal artifacts into a classroom? What sorts of meanings are ascribed to artifacts? What are the layers of narratives that are revealed when students speak to memories of photographs and objects? How might artifact work permit the outside self to be present inside an educational setting and generate a sense of reciprocity?

[full article, abstract in English; abstract in Lithuanian]
Constructionists operationalize a powerful notion they share with constructivists: individual learning is facilitated by building models of specific ideas, concepts, methods, objects, environments, feelings, dreams, memories and sounds using the learner's current stock of knowledge. Constructionists do this by building models or artifacts that can be externally manipulated, interrogated by their builder, and verbally shared with others. Constructionists believe that new knowledge is created during these discussions. Constructionism is rich with heuristic methods for both finding and constructing artifacts and for discussing these artifacts privately and publicly. Constructionists argue that both constructing and discussing are necessary for deep sense-making.
This paper describes one specific constructionist learning method: visual modeling. It illustrates one educator's approach, developed in the classroom over a 40-year period. It references the relevant literature; describes its pedagogic approach, materials and outcomes; and it offers a step-by-step example of one student's thinking process. Finally, it presents – in appropriate narrative form – 15 arguments why the visual component extends the constructionist project and should be integrated into more educational programs.

In this short essay, I explore the recent reassessment of ruined sites haunted by the echoes of State terrorism across the Southern Cone of Latin America, asking what is at stake in the conservation of former detention centers and focusing on Villa Grimaldi in Chile. The site was initially transformed into a green park but has subsequently become a museum in which remains of the original buildings and artifacts from the repressive past are publicly accessible. I draw on perspectives that claim that even ruins that portray past acts of inhumanity do not necessarily need to evoke melancholic or traumatic retrospection; rather, they are sites of alternative pasts and futures. The transition from the original green park design to a more prominent use of the ruins speaks of an invitation to reassess the past, addressing marginal aspects of emblematic memories, including the political conflict that underpinned the repression.

This article examines Ulrich Horstmann's science fiction radio play Die Bunkermann-Kassette (The Bunker Man Cassette, 1979), in which the author frames fears and anxieties surrounding a potential nuclear conflict during the Cold War as apocalyptic self-annihilation of the human race. Radio, especially radio drama, had a unique role in capturing the historical imaginaries and traumatic experiences surrounding this non-event. Horstmann's radio drama and the titular cassette tape become sound artifacts that speak to the technological contexts of their time, while their acoustic content carries the past sounds into the present. In the world of the play, these artifacts are presented in a museum of the future, which uses the possibilities of science fictional imagination and speculation to create prosthetic memories of the Cold War. The article suggests that these memories are cyborg memories, because the listener is a fully integrated component of radio technology that makes these memories and recollections of imagined events possible in the first place.

En este trabajo deseamos recuperar y excavar en las representaciones de archivo que se desprenden de las voces que frecuentan e invocan modos de nombrar y de resistir las prácticas de documentación de los cuerpos movilizados en acciones poéticas y políticas subterráneas durante la posdictadura. La primera parte revisa y releva la teoría anglófona que reconoce a los estudios sobre performance como campo de acción, mientras que el segundo segmento de este trabajo recupera las voces que protagonistas y testigos oculares del under vuelcan sobre la condición de la práctica indocumentada, las memorias descartadas y otros artefactos lingüísticos a prueba de archivo. ; In this work we want to recover and dig in the representations of archive that come out of the voices that frequent and invoke ways to name and resist the documentation practices of mobilized bodies in underground poetic and politic actions during the post-dictatorship. The first part reviews the Anglophone theory that recognizes performance studies as a field of action, while the second part recovers the voices of protagonists and eyewitnesses of the under related to the condition of undocumented practices, discarded memories and other archive-proof linguistic artifacts. ; Facultad de Bellas Artes

This article is motivated by the polemic surrounding watching the G30S/PKI film. The purpose of writing is to find new insights from film as one of the artifacts of popular culture: where film is a mirror of oneself, even a mirror of a nation. Through an effort to analyze the film Peng betrayan G30S/PKI, we capture a moral message about the gripping culture of a society that has suffered from chronic and traumatic historical wounds for so long. Through this film, we find a picture of power that appears as an "interpretation regime", which monopolizes and controls the interpretation of the world of signs and symbols, namely the G30S/PKI film, so that the truth is bent for the sake of political propaganda. With a qualitative method, this paper intends to construct emancipatory meanings through reading films that speak of small narratives that function as trauma healers, and whose presence becomes an opponent for the domination of the big narratives of a nation's history. The results of this study confirm that the trauma passed down from generation to generation is faced not by running from it, but rather by facing it, re-watching it, making it a mirror of our own modesty in the past. It can be concluded that the narrative of a film is a means to restore spiritual shame, so that we can appreciate the shame of failing before God, to be restored and empowered again as a new human being.

AbstractHow do young Russians relate to World War II and the violence of the wartime period? This article explores the degree to which societal and elite-driven narratives about history converge in the context of a crucial historical anniversary. We demonstrate that the memory of World War II serves as an integrative historical event for an abstract, temporally transcendent idea of Russia. Our analysis draws on focus groups conducted among young people of different political orientation in June 2019, survey data targeting urban youth, conducted over three consecutive years (2018–2020), and cultural artifacts such as film and literature. There is significant overlap between the views that young people express about victory and commemoration and the prevailing cultural, political, educational, and historical discourses. However, there is significant controversy when it comes to the actual ways in which the current political regime remembers the victory, the role of Stalin, and how to understand violence against the civilian population. The shared historical view that the Putin regime has created therefore remains contested. Disagreement limits the extent to which memory can be a foundation for today's political Russia as young respondents differentiate between their support for an abstract ideal of Russia and the existing political system.

RESUMEN: El artículo pretende mostrar, en primer lugar, la existencia de algunos "artefactos" como dispositivos de la memoria, surgidos de diversos ejercicios realizados con comunidades víctimas de la violencia que son la "viva" expresión de esas memorias subterráneas y que han sido recopilados en el marco de diferentes proyectos de investigación y de extensión del grupo de investigación. En la segunda parte, introduce una reflexión más teórica sobre la relación Memoria/Poder como el marco de discusión donde se sitúan estas experiencias, enfatizando en dos aspectos: el de hacer visibles esos "espacios de poder" en el que unas y otras memorias se sitúan al interior de la sociedad colombiana de hoy para mostrar cómo son, precisamente, esos espacios de poder y los instrumentos de los cuales se sirven, los que les dan el carácter de dominantes y subterráneas a las memorias; y para mostrar que dichos espacios, como todo proceso social, no son fenómenos inmutables o inmodificables, sino que pueden transformarse, redefinirse e incluso reconfigurarse hasta conducir a cambios que distribuyan de otra manera los recursos de poder que los marcan. Finalmente, y en una tercera parte del artículo, se deja planteada una reflexión "a modo de hipótesis de trabajo" que podría ser la vía para invertir el asunto y proponer caminos con el objeto de que esas memorias subterráneas (marginales, ocultas y poco visibilizadas) cambien de lugar en la sociedad y emerjan a la superficie desarrollando todo su potencial político y obteniendo por derecho propio un lugar en la memoria histórica del país. ; ABSTRACT: This paper intends to show, in first instance, the existence of some "artifacts" as devices of memory, born out from various exercises conducted among communities having undergone violence. These devices are the "living" embodiment of underground memories that were gathered within various inquiry and extension projects by the research group. In the second part, a more theoretical reflection is put forward on the Memory/ Power relationship as the frame of discussion within which these experiences are situated, emphasizing two aspects: making visible those "spaces of power" where both memories are situated within today's Colombian society so as to show specifically how those spaces of power appear, as well as the instruments they make use of, qualifying memories either as dominant or underground; and to show those spaces, just like any other social process, are not immutable or unchangeable phenomena, but are prone to be transformed, redefined and even reconfigured up to leading all the way to make changes to differently distribute the resources of power leaving their mark on them. In a third final part, a reflection "as a working hypothesis" is made, which could be the way to change the issue at hand and suggest new paths aiming to shift the place in society for those underground (marginal, hidden and scarcely visibilized) memories and make them emerge to surface so that they can develop all of their political potential and get their due place in Colombia's historical memory.

pt. 1. Theories and perspectives -- pt. 2. Cultural artifacts, symbols and social practices -- pt. 3. Public, transnational and transitional memories -- pt. 4. Technologies of memory -- pt. 5. Terror, violence and disasters -- pt. 6. Body and ecosystems.

"An ethnography of the ways displaced residents remember the ethnic diversity of their neighborhood in a small city in eastern Pennsylvania destroyed in the name of urban renewal, where memories, linguistic patterns, and material artifacts continue to animate people's everyday lives"--