Archiving Memories Quotes

Because the only way to truly record a person is not in words, not in still frames, but in bone and skin and memory.

Even if we have bad feelings about our past and it causes a sense of alienation, it belongs to our history. Its benchmarks are stored in the granary of our mind and crucial evaluations for the future cannot be made without consulting the archive of our memory. ( “Not without the past”)

So much of the love you feel for a person is dependent on the vast archive of shared memories you can access just by seeing their face or hearing their voice.

I know what you are,” Shallan whispered. “You’re the blankness upon my memories. The part of me that looks away. The part of my mind that protects me from my past.” “Of course I am,” Veil said. “I’m your veil, Shallan.

We are the only species on the planet, so far as we know, to have invented a communal memory stored neither in our genes nor in our brains. The warehouse of this memory is called the library

But once you know, you can’t go back. Not really. You can carve out someone’s memories, but they won’t be who they were before. They’ll just be full of holes. Given the choice, I’d rather learn to live with what I know.

It’s not that Mom didn’t keep anything, it’s that she kept the wrong things. We leave memories on objects we love and cherish, things we use and wear down.

After a year of tiptoeing through our lives, trying not to set off memories like landmines.

The only way to truly record a person is not in words, not in still frames, but in bone and skin and memory.

We view memories as archives of past events—of what has actually happened. But in reality, memories are nothing more than descriptions of what we think happened.

We will never cease our critique of those persons who distort the past, rewrite it, falsify it, who exaggerate the importance of one event and fail to mention some other; such a critique is proper (it cannot fail to be), but it doesn't count for much unless a more basic critique precedes it: a critique of human memory as such. For after all, what can memory actually do, the poor thing? It is only capable of retaining a paltry little scrap of the past, and no one knows why just this scrap and not some other one, since in each of us the choice occurs mysteriously, outside our will or our interests. We won't understand a thing about human life if we persist in avoiding the most obvious fact: that a reality no longer is what it was when it was; it cannot be reconstructed. Even the most voluminous archives cannot help.

The archive of supposed photocopies (I.E. memory) actually offers up strange creatures; the green paradise of childhood loves that Baudelaire recalled is for many a future in reverse, an obverse of hope in the face of the gray purgatory of adult loves.

And I searched my memory -- that thin, imperfect archive -- for where might have seen it before. [Ann Stilwell]

There is something about that burning of all those letters that gives me pause: why should everything be made clear and be brought into the light? Why keep things, archive your intimacies? Why not let thirty years of shared conversation go spiralling in ash up into the air of Tunbridge Wells? Just because you have it does not mean you have to pass it on. Losing things can something gain you a space in which to live.

Memories die as soon as they are plucked from their surroundings, they burst, lose color, lose suppleness, stiffen like corpses. All that remains are shells with translucent edges. Half-erased brain platelets are a slippery terrain, deceptive. One’s mental archive is locked, it languishes in the dark. The past is riddled with holes, souvenirs can’t help here. Everything must be thrown away. Everything. And perhaps everyone as well.

The folding or doubling is itself a Memory: the ‘absolute memory’ or the memory of the outside, beyond the brief memory inscribed in strata and archives, beyond the relics remaining in the diagrams.

Nature is constantly growing, changing, one of the few things that can't hold memories. You forget how much clutter there is in the world, in the people and things, until you're surrounded by green. And even if they don't hear and see and feel the past the way I do, I wonder if normal people feel this too -- the quiet.

Now keep in mind, memories aren’t historical archives. They’re—improvisations, really. A lot of the stuff you associate with a particular event might be factually wrong, no matter how clearly you remember it. The brain has a funny habit of building composites. Inserting details after the fact. But that’s not to say your memories aren’t true, okay? They’re an honest reflection of how you saw the world, and every one of them went into shaping how you see it. But they’re not photographs. More like impressionist paintings. Okay?

She wrote somewhere that photographs create their own memories, and supplant the past. In her pictures there isn’t nostalgia for the fleeting moment, captured by chance with a camera. Rather, there’s a confession: this moment captured is not a moment stumbled upon and preserved but a moment stolen, plucked from the continuum of experience in order to be preserved.

The dead are silent, and objects, when they hold impressions, are quiet until you reach through them. But the touch of living is loud. Living people haven't been compiled, organized -which means they're a jumble of memory and thought and emotion, all tangled up and held at bay only by the silver band of my finger. The ring helps, but it can't block the noise, just the images

All memory is individual, unreproducible - it dies with each person. What is called collective memory is not a remembering but a stipulation: that is important, and this is the story about how it happened, with the pictures that lock the story in our minds. Ideologies create substantiating archives of images, representative images, which encapsulate common ideas of significance and trigger predictable thoughts, feelings.

Nothing is long ago in an archive, my dear. In the records we treat the dead as same as the living.
that’s the whole point of keeping papers. It doesn’t matter if it’s a hundred years or only a few weeks. It’s all filed away, fresh as the day it went under the covers.

Elodie felt a familiar stirring of anticipation as she took in the sepia tones, the promise if a life awaiting rediscovery. Part I: The Satchel > Chapter 1

but this time I was lucky enough to find it in the archives of my memories. He was there, of course—in

If our shallow, self-critical culture sometimes seems to lack a sense of the numinous or spiritual it’s only in the same way a fish lacks a sense of the ocean. Because the numinous is everywhere, we need to be reminded of it. We live among wonders. Superhuman cyborgs, we plug into cell phones connecting us to one another and to a constantly updated planetary database, an exo-memory that allows us to fit our complete cultural archive into a jacket pocket. We have camera eyes that speed up, slow down, and even reverse the flow of time, allowing us to see what no one prior to the twentieth century had ever seen — the thermodynamic miracle of broken shards and a puddle gathering themselves up from the floor to assemble a half-full wineglass. We are the hands and eyes and ears, the sensitive probing feelers through which the emergent, intelligent universe comes to know its own form and purpose. We bring the thunderbolt of meaning and significance to unconscious matter, blank paper, the night sky. We are already divine magicians, already supergods. Why shouldn’t we use all our brilliance to leap in as many single bounds as it takes to a world beyond ours, threatened by overpopulation, mass species extinction, environmental degradation, hunger, and exploitation? Superman and his pals would figure a way out of any stupid cul-de-sac we could find ourselves in — and we made Superman, after all.

Literature is the memory of humanity. Anyone who writes remember, and anyone who reads takes part in these expriences. Books can be reprinted. The fact is, there are archival copies of books. Not of people.

Nothing in us stays constant. Our minds are not an archive; everything is always being re-digested by the present. Memories fade; my scars get paler every year; grass grows back endlessly over scorched earth.

This seems to me absolutely one of the quintessential things about the human condition. It’s what actually distinguishes man from any other animal: living with those who have lived and the companionship of those who are no longer alive. Not necessarily the people that one knew personally, I mean the people perhaps whom one only knows by what they did, or what they left behind, this question of the company of the past, that’s what interests me, and archives are a kind of site in the sense of like an archaeological site.

to be useful, to develop understanding, insight and knowledge, the information has to be reflected on and stored in our long-term memory by our archiving brain. This is simply impossible to do without disconnecting.

I've always been good at math. It's straightforward, black-and-white, right and wrong. Equations. Da thought of people as books to be read, but I've always thought of them more as formulas—full of variables, but always the sum of their parts. That's what their noise is, really: all of a person's components layered messily over one another. Thought and feeling and memory and all of it unorganized, until a person dies. Then it all gets compiled, straightened out into this linear thing, and you see exactly what the various parts add up to. What they equal.

Dipping into the archive is always an interesting, if sometimes unsettling, proposition. It often begins with anxiety, with the fear that the thing you want won't surface. But ultimately the process is a little like tapping into the unconscious, and can bring with it the ambivalent gratification of rediscovering forgotten selves. Rather than making new pictures why can't I just recycle some of these old ones? Claim "found" photographs from among my boxes? And have this gesture signify "resistance to further production/consumption"? (96)

History was a patchwork of voids. The great university libraries and public archives had mostly rotted away or been used as fuel in the Dark Age. An entire generation's correspondence and memories had vanished into this mysterious entity the antiquarians called 'The Cloud'.

The essence of memory is not in the storage of information, but in the emotions we hold, in the meaning we give to our recollections, in relationships that, because we remember them, stay alive. The friends of my childhood, the pain of a goodbye, the meeting with a special person, a wonderful September afternoon, and so forth—all these are not merely items I keep in an archive. They are vital ingredients of my history.

In 1953, Allen Dulles, then director of the USA Central Intelligence Agency (CIA), named Dr Sidney Gottlieb to direct the CIA's MKULTRA programme, which included experiments conducted by psychiatrists to create amnesia, new dissociated identities, new memories, and responses to hypnotic access codes. In 1972, then-CIA director Richard Helms and Gottlieb ordered the destruction of all MKULTRA records. A clerical error spared seven boxes, containing 1738 documents, over 17,000 pages. This archive was declassified through a Freedom of Information Act Request in 1977, though the names of most people, universities, and hospitals are redacted. The CIA assigned each document a number preceded by "MORI", for "Managament of Officially Released Information", the CIA's automated electronic system at the time of document release. These documents, to be referenced throughout this chapter, are accessible on the Internet (see: abuse-of-power (dot) org/modules/content/index.php?id=31). The United States Senate held a hearing exposing the abuses of MKULTRA, entitled "Project MKULTRA, the CIA's program of research into behavioral modification" (1977).

I still don't have the heart to press delete. So, I’m archiving all your pictures and memories to make room for something far better than what I’ve left behind.

Imagination is nothing more than a memory transposed.

His eyes had been soft and hot all at the same time, intense and sweet, and I wished there was a way to archive the memory so it could never be lost.

The wind did not blow, not a single tree swayed. The ominous silence overtook Rishabh's heart before he turned to rummage in his archived memories of Shruti.

Every pasture needs three things,” the woman said, voice changing, as if she were quoting from memory. “Flocks to grow, herdsmen to tend, and watchers at the rim.

Memories separated in time are often recalled side by side-there's an emotional connection that has nothing to do with the diary dates and everything to do with the feeling. Remembering isn't like visiting a museum: Look! There's the long-gone object in a glass case. Memory isn't an archive. Even a simple memory is a cluster. Something that seemed so insignificant at the time suddenly becomes the key when we remember it at a particular time later. We're not liars or self-deceivers-OK, we are all liars and self-deceivers, but it's a fact that our memories change as we do. Some memories, though, don't seem to change a all. They are sticky with pain. And even when we are not, consciously, remembering our memories, they seem to remember us. We can't shake free of their effect. There's a great-term for that-the old present. These things happened in the past, but they're riding right up front with us every day. (245-6)

I also knew you wouldn't remember this trip, because you're only five years old, and our pediatrician had told us that children don't starting building memories of things until after they turn six. When I realized that, that I was ten and you were only five, I thought, fuck. But of course I didn't say so out loud. I just thought, fuck, silently, to myself. I realized that I'd remember everything and you maybe wouldn't remember anything. I needed to find a way to help you remember, even if it was only through things I documented for you, for the future. And that's how I became a documentarist and a documentarian at the same time. (p 213)

That's what we've been taught, this is the underpinning of all European culture-this firm belief that there are no secrets that won't sooner or later come to light. Who was it that said it? Jesus? No, Pascal, I think it was… so naïve. But this faith has been nurtured for centuries; it has sprouted its own mythology: the cranes of Ibycus, manuscripts don't burn. An ontological faith in the fundamental knowability of every human deed. The certainty that, as they now teach journalism majors, you can find everything on the Internet. As if the Library of Alexandria never existed. Or the Pogruzhalsky arson, when the whole historical section of the Academy of Sciences' Public Library, more than six-hundred thousand volumes, including the Central Council archives from 1918, went up in flames. That was in the summer of 1964; Mom was pregnant with me already, and almost for an entire month afterward, as she made her way to work at the Lavra, she would get off the trolleybus when it got close to the university and take the subway the rest of the way: above ground, the stench from the site of the fire made her nauseous. Artem said there were early printed volumes and even chronicles in that section-our entire Middle Ages went up in smoke, almost all of the pre-Muscovite era. The arsonist was convicted after a widely publicized trial, and then was sent to work in Moldova's State Archives: the war went on. And we comforted ourselves with "manuscripts don't burn." Oh, but they do burn. And cannot be restored.

Time is relative. In human life, time is experience. The faster you archive a significant experience to your memory, the more you live in the same clock time. In physics, experience is represented by the distance traveled, and this entire thing is called the Relativity of Time. I want to age and die through archiving my experiences, not watching my biological clock. Please don't waste my clock time with mediocrity and egotism, let me use it towards serving to others.

Friends depart Sea is swallowing their moons Airports are archiving them in the oblivion basket Borders are exclamation marks in their lives But they did not crook their cross Their memories are still at the house Courtyard rocking their childhood Friends depart Friends depart Friends d e p a r t e d

Every vehicle with a GPS is tracked by satellite, and the history of its travels is archived in the million-square-foot Utah Data Center of the National Security Agency, in its ever-growing cloud. The NSA is a jealous guardian of the knowledge that it has acquired, and police agencies do not have routine access to it.

Works of art were trophies that glorified leaders and the nation. Art would also reflect and legitimize the National Socialist ideals and the new human being. But the actual ideology would be underpinned by books and archives. The future would be built by a control of memory and history, on the basis of the written word. The

My archive project is a multiedged sword. It is something I love doing, but it raises some questions about my motives in doing it. A writer accused me of building my archives just to further my own legend, whatever that is. I hope you don't believe that. What a shallow existence that would be! I remember reading that article saying that about me. It pissed me off. It's my life, and I am a collector. I collect everything: cars, trains, manuscripts, photographs, tape recordings, records, memories and clothes, to name a few. The fact that I want to create a chronological history of my recordings and supporting work is proof positive that I am an incurable collector, confronted with an amazingly detailed array of creations that I have painstakingly rat-holed over the years.

...wars are orgies of forgetfulness. The twentieth century has archived vast catacombs, tunnels of information in which researchers get lost and in the end abandon their research, catacombs that ever fewer people enter. Stored away---forgotten. The twentieth century, a century of great tidying that ends in cleansing; the twentieth century, a century of cleansing, a century of erasure. Language perhaps remains, but it too is crumbling.

Jewish food and black food crisscross each other throughout history. They are both cuisines where homeland and exile interplay. Ideas and emotions are ingredients - satire, irony, longing, resistance - and you have to eat the food to extract that meaning. One memory is the sweep of the people's journey, and the other is the little bits and pieces of individual lives shaped by ancient paths and patterns. The food is an archive, a keeper of secrets.

Neuropsychologists are coming to recognize that there is a specialized subset of long-term memory. Remote memories are ones stretching back to your childhood—the name of your village, your native language, the smell of your grandmother’s baking. They appear to be stored in some sort of archival way in your brain separate from more recent long-term memories. Often, in patients with a dementia that devastates most long-term memory, the more remote facets can remain intact.

In actuality, myths are neither fiction nor history. Nor are most myths—and this will surprise some people—an amalgamation of fiction and history. Rather, a myth is something that never happened but is always happening. Myths are the plots of the psyche. They are ongoing, symbolic dramatizations of the inner life of the species, external metaphors for internal events. As Campbell used to say, myths come from the same place dreams come from. But because they’re more coherent than dreams, more linear and refined, they are even more instructive. A myth is the song of the universe, a song that, if accurately perceived, explains the universe and our often confusing place in it. It is only when it is allowed to crystallize into “history” that a myth becomes useless—and possibly dangerous. For example, when the story of the resurrection of Jesus is read as a symbol for the spiritual rebirth of the individual, it remains alive and can continually resonate in a vital, inspirational way in the modern psyche. But when the resurrection is viewed as historical fact, an archival event that occurred once and only once, some two thousand years ago, then its resonance cannot help but flag. It may proffer some vague hope for our own immortality, but to our deepest consciousness it’s no longer transformative or even very accessible on an everyday basis. The self-renewing model has atrophied into second-hand memory and dogma, a dogma that the fearful, the uninformed, and the emotionally troubled feel a need to defend with violent action.

I also like the constant tension in those pictures, a tension between document and fabrication, between capturing a unique fleeting instant and staging an instant. She wrote somewhere that photographs create their own memories, and supplant the past. In her pictures there isn’t nostalgia for the fleeting moment, captured by chance with a camera. Rather, there’s a confession: this moment captured is not a moment stumbled upon and preserved but a moment stolen, plucked from the continuum of experience in order to be preserved.

(...) compor meticulosamente o cadastro afetivo e o retrato fantástico-histórico de uma comunidade e de uma de suas remotas jornadas de meio século atras. E isso não com os instrumentos racionais, a ficha, o documento, o testemunho, caros ao arqueólogo do cotidiano, mas por meio de um sortilégio espontâneo de silhuetas que se esvaziaram gradativamente, uma depois da outra, numa parede: relicário de epifanias momentâneas, cinema de larvas dispersas; o insuficiente butim de um aprendiz de Noé que, depois do diluvio, para não esquecer o mundo, andasse a vasculhar os fosseis soterrados na areia (...)

She was my champion. She was my archive. She had taken the utmost care to preserve the evidence of my existence and growth. Capturing me in images. Saving all my documents and possessions. She had all knowledge of my being memorized. The time I was born. My unborn cravings. The first book I read. The formation of every characteristic. Every ailment and little victory. She observed me with unparalleled interest. Inexhaustible devotion. Now that she was gone, there was no one left to ask about these things. The knowledge left unrecorded died with her. What remained were documents and my memories. And now it was up to me to make sense of myself, aided by the signs she left behind. How cyclical and bittersweet, for a child to retrace the image of their mother. For a subject to turn back to document the archivist… The memories I had stored, I could not let fester. Could not let trauma infiltrate and spread to spoil and render them useless. They were moments to be tended. The culture we shared was active, effervescent in my gut and in my genes and I had to seize it, foster it, so it did not die in me, so that I could pass it on someday. The lessons she imparted, the proof of her life lived on in me in my every move and deed. I was what she left behind. If I could not be with my mother, I would be her.

The memoir is, at its core, an act of resurrection. Memoirists re- create the past, reconstruct dialogue. They summon meaning from events that have long been dormant. They braid the clays of memory and essay and fact and perception together, smash them into a ball, roll them flat. They manipulate time; resuscitate the dead. They put themselves, and others, into necessary context. I enter into the archive that domestic abuse between partners who share a gender identity is both possible and not uncommon, and that it can look something like this. I speak into the silence. I toss the stone of my story into a vast crevice; measure the emptiness by its small sound.

I think I’d felt that as long as I avoided looking for the tickets, they would be there; it was only if I searched the archive that they’d disappear, as if the past were up until that point indeterminate, that I might outrun it. Do you know what I mean? We had to pay a lot of money to get the tickets for the next day; luckily they still had seats, although I suppose there are usually seats to and from Kansas City. It was kind of like that, recovering the memory of what my father had done. The knowledge was always there, I carried it in my body, but I didn’t know what I knew, although I knew I knew something and that I dreaded knowing it fully, dreaded it as if only coming into the knowledge, into the memory, would make the event that I was repressing real.

When it comes to people we admire, it is in our nature to be selective with information, to load with personal associations, to elevate and make heroic. That is especially true after their deaths, especially if those deaths have been in any way untimely and/or shocking. It is hard to hold onto the real people, the true story. When we think of the Clash, we tend to forget or overlook the embarrassing moments, the mistakes, the musical filler, the petty squabbles, the squalid escapades, the unfulfilled promises. Instead, we take only selected highlights from the archive-the best songs, the most flatteringly-posed photographs, the most passionate live footage, the most stirring video clips, the sexiest slogans, the snappiest soundbites, the warmest personal memories-and from them we construct a near-perfect rock 'n' roll band, a Hollywood version of the real thing. The Clash have provided us with not just a soundtrack, but also a stock of images from which to create a movie we can run in our own heads. The exact content of the movie might differ from person to person and country to country, but certain key elements will remain much the same; and it is those elements that will make up the Essential Clash of folk memory. This book might have set out to take the movie apart scene by scene to analyse how it was put together; but this book also believes the movie is a masterpiece, and has no intention of spoiling the ending. It's time to freeze the frame. At the very moment they step out of history and into legend: the Last Gang In Town.

The Starborn—Theia, their queen, and Pelias, the traitor-prince who’d usurped her. Theia had brought two daughters with her into Midgard: Helena, who’d been forced to wed Pelias, and another, whose name had been lost to history. Much of the truth about Theia had been lost as well, either through time or the Asteri’s propaganda. Aidas, Prince of the Chasm, had loved her—that much Bryce knew. Theia had fought alongside Hel against the Asteri to free Midgard. Had been killed by Pelias in the end, her name nearly wiped from all memory. Bryce bore Theia’s light—Aidas had confirmed it. But beyond that, even the Asteri Archives had provided no information about the long-dead queen. “So you believe,” Amren said slowly, silver eyes flickering, “that our world is this third planet that resisted these … Asteri.

The benefits go beyond research and influence. We lack comprehensive historical records of internet culture and patterns of abuse. Those of us on the front lines tend to have institutional memory, but archiving this information would be extremely beneficial for tracking patterns and mechanisms in different settings. The kind of coordinated mob abuse that I went through was the same kind of abuse the women who exposed #EndFathersDay experienced was the same kind of abuse the infosec community instigated against Kathy Sierra in 2007 and so on. Some of the actors are even the same. This data could be invaluable to sociologists, technologists, and historians alike. However, due to the extremely personal nature of this information, the details of how it’s obtained, who obtains it, and what is done with it must be well thought out.

Rhysand asked, “What happened after these beings arrived in your world?” Bryce sucked her teeth before saying, “In the official version of this story, another world, Hel, tried to invade Midgard. To destroy the fledgling empire—and everyone living in it. But the Asteri unified all these new people under one banner and pushed Hel back to its own realm. In the process, the Northern Rift was fixed with its destination permanently on Hel. After that, it remained mostly closed. A massive wall was erected around it to keep any Hel-born stragglers from getting through the cracks, and the Asteri built a glorious empire meant to last for eternity. Or so we’re all ordered to believe.” The faces in front of her remained impassive. Rhysand asked quietly, “And what is the unofficial story?” Bryce swallowed, the room in the archives flashing through her memory. “The Asteri are ancient, immortal beings who feed on the power of others—they harvest the magic of a people, a world, and then eat it. We call it firstlight. It fuels our entire world, but mostly them. We’re required to hand it over upon reaching immortality—well, as close to immortality as we can get. We seize our full, mature power through a ritual called the Drop, and in the process, some of our power is siphoned off and given over to the firstlight stores for the Asteri. It’s like a tax on our magic.

became a blurry swirl of shapes and colors narrowing into a luminous spot of white light at the end of a black anoxic tunnel and dissolving into a rapid series of bright sharp images that I recognized at once from my childhood: long forgotten memories of important moments flashing by faster than anything I’d ever experienced, twenty to thirty frames a second, each one of them original, like perfect photographic slides from the archives of my young life, every scene compressed into a complete story with sights and sounds and smells and feelings from the time. Each image was euphoric, rapturous. The smiling face of my beautiful young mother / a gentle touch from her hand on my face / absorbing her love / playing in the sand at the seashore with my father / waves washing up on the beach / feeling the strength and security of his presence / soothing, kind-hearted praise from a teacher at school / faces and voices of adoring aunts and uncles / steam trains coming in at the local railroad station / hearing myself say “choo-choo” / the excitement of shared discovery with my brother on Christmas morning / running free through a familiar forest with a happy dog / hitting a baseball hard and hearing encouraging cries from my parents behind me in the bleachers / shooting baskets in a backyard court with a buddy from high school / a tender kiss from the soft warm lips of a lovely teenage girl / the encouraging thrust of her stomach and thighs against mine.

Sargon, the obscure adventurer who had emerged as though from nowhere to nurture this proud ambition, to extinguish the independence of neighboring city-states and to rule supreme over the “totality of the lands under heaven,” had always remained the model of a Mesopotamian strongman. Almost two thousand years after his foundation of Akkad, he remained the cynosure of great kings. Indeed, in the decades before the Persian conquest, the obsession with him had become a veritable craze. At Susa, the capital of Elam, a victory memorial originally inscribed by Sargon’s grandson had been lovingly dusted down and put on prominent display; in Akkad itself, when a statue of the great man was excavated, Nabonidus had come rushing in high excitement to inspect it, and to supervise its restoration. Museums had sprung up everywhere: at Ur, for instance, the antiquities collection maintained by Nabonidus’ daughter, Princess En-nigaldi-Nanna, had been carefully labeled and put on display for the edification of the public. Meanwhile, in Babylon itself, scholars pored over great libraries of archives, tracing ancient documents, recycling archaic phrases, looking to the distant past to legitimize the needs and whims of their masters. The people of Mesopotamia, living as they did amid the lumber of millennia, had always been profoundly respectful of antiquity. Rather than feeling oppressed by it, they recycled it, cannibalized it, and turned it to their advantage.

At the time that he had seriously begun to consolidate his organization, Parker was working in a custom photo lab. The reader who is not much taken by audiovisual pastimes may have a deficient picture of that place where Parker was employed; or perhaps not so much a deficient picture--the dyes faded, shoddily spotted, brutishly burned in and doltishly dodged by subhuman technicians under the glare of the enlargers--as an image which had been misfiled in the archives of the memory, representing instead one of those bleak Photo Drive-Ups and Presto Printses located nowadays on the corner of almost every large parking lot, in which the clerks wait sadly behind their glass counters, but no one comes in, and the air becomes darker and darker over the course of the morning as a result of exhaust fumes (there goes another brain cell; ping! - THAT thought will never be completed now); and the pink chubby tots smiling at your from the walls in sample enlargements become steadily more grimy, and by the lunch break they are brown; and the day ticks off on the loud digital clock; and then finally a car creeps into the lot, and a popeyed couple locks that vehicle doors listlessly; they request a reprint of a washed-out snapshot of their son who was killed in the Indian Wars, and they go away; and after a long time here comes a slick-haired teenager who once took a few pix of his girlfriend holding a balloon at the zoo in front of the monkey cage on a dirty overcast day, and the clerk can tell just by looking at this customer that they won’t come out, because the guy’s a loser if the clerk knows anything at all about losers and in fact he knows a hell of a lot about losers because why else would he be stuck with this job?

Yoel Goldenberg makes exhibitions, photographs, models and media craftsmanship. His works are an examination of ideas, for example, validness and objectivity by utilizing an exhaustive methodology and semi exploratory exactness and by referencing documentaries, 'actuality fiction' and prominent experimental reciprocals. Yoel Goldenberg as of now lives and works in Brooklyn. By challenging the division between the domain of memory and the domain of experience, Goldenberg formalizes the circumstantial and underlines the procedure of synthesis that is behind the apparently arbitrary works. The manners of thinking, which are probably private, profoundly subjective and unfiltered in their references to dream universes, are much of the time uncovered as collections. His practice gives a valuable arrangement of metaphorical instruments for moving with a pseudo-moderate approach in the realm of execution: these fastidiously arranged works reverberate and resound with pictures winnowed from the fantastical domain of creative energy. By trying different things with aleatoric procedures, Yoel Goldenberg makes work in which an interest with the clarity of substance and an uncompromising demeanor towards calculated and insignificant workmanship can be found. The work is detached and deliberate and a cool and unbiased symbolism is utilized. His works are highlighting unplanned, unintentional and sudden associations which make it conceivable to overhaul craftsmanship history and, far and away superior, to supplement it. Consolidating random viewpoints lead to astounding analogies. With a theoretical methodology, he ponders the firmly related subjects of file and memory. This regularly brings about an examination of both the human requirement for "definitive" stories and the inquiry whether tales "fictionalize" history. His gathered, changed and own exhibitions are being faced as stylishly versatile, specifically interrelated material for memory and projection. The conceivable appears to be genuine and reality exists, yet it has numerous countenances, as Hanna Arendt refers to from Franz Kafka. By exploring dialect on a meta-level, he tries to approach a wide size of subjects in a multi-layered route, likes to include the viewer in a way that is here and there physical and has faith in the thought of capacity taking after structure in a work. Goldenberg’s works are straightforwardly a reaction to the encompassing environment and uses regular encounters from the craftsman as a beginning stage. Regularly these are confined occasions that would go unnoticed in their unique connection. By utilizing a regularly developing file of discovered archives to make self-ruling works of art, he retains the convention of recognition workmanship into every day hone. This individual subsequent and recovery of a past custom is vital as a demonstration of reflection. Yoel’s works concentrate on the powerlessness of correspondence which is utilized to picture reality, the endeavor of dialog, the disharmony in the middle of structure and content and the dysfunctions of dialect. To put it plainly, the absence of clear references is key components in the work. With an unobtrusive moderate methodology, he tries to handle dialect. Changed into craftsmanship, dialect turns into an adornment. Right then and there, loads of ambiguities and indistinctnesses, which are intrinsic to the sensation, rise up to the top

There has been much controversy about the numbers of those imprisoned and killed at various times in the Stalin years, but the opening of the archives has led to some convergence towards a middle (but still horrific) figure, some millions fewer than the earlier highest estimates and some millions more than the estimates of those who downplayed the scale of Stalin’s terror. Ronald Suny, the editor of a recent major volume on twentieth-century Russian history, suggests that the ‘total number of lives destroyed by the Stalinist regime in the 1930s is closer to 10–11 million than the 20–30 million estimated earlier’.68 Anne Applebaum, the author of a detailed study of political prisoners in the Soviet Union, arrives at a figure of 28.7 million forced labourers over the whole Soviet period. She includes in that number the ‘special exiles’, such as ‘kulaks’ and particular nationalities, among them the Tatars and Volga Germans, who were deported during World War Two. Applebaum notes that a figure of around 786,000 political executions between 1934 and 1953 is now quite widely accepted, although her own view is that the true figure is probably significantly higher than that number.69 The Russian non-governmental organization Memorial, dedicated to investigating the cases of repression in the Soviet period, more recently came up with the figure of 1.7 million people arrested in 1937–38 alone, of whom, they say, at least 818,000 were shot.70

If I wanted, I could remove the offending passage from the screen but not from the memory, thereby creating an archive of my repressions while denying omnivorous Freudians and virtuosi of variant texts the pleasure of conjecture, the exercise of their occupation, their academic glory. This is better than real memory, because real memory, at the cost of much effort, learns to remember but not to forget.

Of the seven Archons that had combined to form the Milky Way mind, Orion had been the Archon whose verve and remorseless drive inspired and frightened and tempted the others into cooperation. Of the twenty-five Authorities forming the long-lost Orion Arm, the Benedictine was the most significant and influential of the ancient forefathers. The Benedictines were combination of three Dominions, issuing from the Collective at the Praesepe Cluster, the Abstraction at Orion Nebula, and the Empyrean at the Hyades Cluster. The Empyreans issued from a world called Eden, allegedly outside Hyades itself, and had displaced the original inhabitants of Hyades, a rude confederation of Virtues, Hosts, and races who names even devout paleohistorians could not with certainty invoke. Occupying the debris of the oldest archival strata were traces of the legendary founder of this Domination, an Empyrean called the Judge of Ages. He was the direct lineal ancestor of the memory chains of the last-known warlord of the Milky Way. Variations of him existed everywhere, of course; he was the base template for nearly every emissary form known in the Milky Way, and the founder of the Count-to-Infinity cliometric which had replaced the Cold Equations of the Interregnum. But such emissaries had been sent to Andromeda and rejected, even destroyed. No recent version of the countless copies would do, nor was there time to send to the core of the Milky Way, where the vast warlord Archon was last known to have been active. Once of the necromancers—call her Alcina—sought his ghost where others had overlooked, in one of the oldest archives, well preserved, amid the Austerity of the Cygnus Arm. Alcina reconstructed him, mind and body, comparing this core to many other records, carefully parsing away amendments and mythical excrescences of later editors. And Menelaus Montrose came to life once more, swearing.

At the height of his career, the architect Adolf Loos burned all his drawings, letters, diaries, fetish objects. He burned everything. With fire, he built an archive made of smoke, a dense mass of forgetfulness from which it would be possible to begin to live again. If there were a precise psychosomatic memory of the previous breakup, no one would fall in love again; nor would we if we knew in advance the exact circumstances of the end of the love we were about to begin having.

He nods, looking through the pictures on the screen on the back of his camera. Some relationships can only exist as memories. But unlike ephemeral digital images that can be sorted and deleted, we can’t erase the past. We have to learn to live with all the images that are stored in love's archive, memories tagged good and bad. No Photoshopping. Accept the negative before moving forward.

When I emailed an archive for a picture of what was arguably America’s first shopping center, the librarian wrote back with the needed links and added, “As a child of the 1990s, I’ve got many a fond memory of the mall, including the fad kiosks (pogs, especially).

Books When Books Went to War, Molly Guptill Manning Books as Weapons, John B. Hench The Book Thieves: The Nazi Looting of Europe’s Libraries and the Race to Return a Literary Inheritance, Anders Rydell The Berlin Stories, Christopher Isherwood The Rise and the Fall of the Third Reich, William L. Shirer The Death of Democracy, Benjamin Carter Hett In the Garden of Beasts, Erik Larson Gay Berlin, Robert Beachy Articles Leary, William M. “Books, Soldiers and Censorship during the Second World War.” American Quarterly Von Merveldt, Nikola. “Books Cannot Be Killed by Fire: The German Freedom Library and the American Library of Nazi-Banned Books As Agents of Cultural Memory.” John Hopkins University Press Appelbaum, Yoni. “Publishers Gave Away 122,951,031 Books During World War II.” The Atlantic “Paris Opens Library of Books Burnt by Nazis.” The Guardian Archives Whisnant, Clayton J. “A Peek Inside Berlin’s Queer Club Scene Before Hitler Destroyed It.” The Advocate “Between World Wars, Gay Culture Flourished in Berlin.” NPR’s Fresh Air More The Great Courses: A History of Hitler’s Empire, Thomas Childers “Hitler: YA Fiction Fan Girl,” Robert Evans, Behind the Bastards Podcast Magnus Hirschfeld, Leigh Pfeffer and Gretchen Jones, History Is Gay Podcast “Das Lila Lied,” composed by Mischa Spoliansky, lyrics by Kurt Schwabach

So I went deeper into an archive of historical memory, hoping to sort it out

I farewell every old year to welcome every new year; the previous year becomes memories, and the new year starts to form and archive new memories.

As my freshman year moved along, I developed nothing less than a hunger for art. The museums were, for me, sanctuaries, holy places. My two, going on three, years in the city with my eyesight still functional provided me with a storehouse of art—images archived in my memory. I learned to use art to live, not just “appreciate” it in passing.

His eyes had been soft and hot all at the same time, intense and sweet, and I wished there was a way to archive the memory so it could never be lost. How was I ever going to sleep?

master the big ideas. These include things like memory management techniques, delegation, archiving, and the proper use of view controllers. The big ideas take a few days to understand. When you reach the halfway point of this book, you

FARBSS (Friedman Archives Recipe for Better Sports Shots) method, which you may wish to commit to a memory location: · Set your camera to A (Aperture Priority) mode (yes, APERTURE). · Set the F/stop all the way open (lowest number). · Set ISO to something reasonable depending on your light. Your target goal for shutter speed is 1/2000th of a second or faster. · Set Focus mode to AF-C. · Set Focus Area to Wide. · Set Drive Mode to Continuous Shooting in Mid- or Hi-speed mode.

We view memories as archives of past events—of what has actually happened. But in reality, memories are nothing more than descriptions of what we think happened. And because what we think is always distorted by our brain’s blind spots, it’s often not true.

Personal Thinking Blockchains More speculatively for the farther future, the notion of blockchain technology as the automated accounting ledger, the quantized-level tracking device, could be extensible to yet another category of record keeping and administration. There could be “personal thinking chains” as a life-logging storage and backup mechanism. The concept is “blockchain technology + in vivo personal connectome” to encode and make useful in a standardized compressed data format all of a person’s thinking. The data could be captured via intracortical recordings, consumer EEGs, brain/computer interfaces, cognitive nanorobots, and other methodologies. Thus, thinking could be instantiated in a blockchain — and really all of an individual’s subjective experience, possibly eventually consciousness, especially if it’s more precisely defined. After they’re on the blockchain, the various components could be administered and transacted — for example, in the case of a post-stroke memory restoration. Just as there has not been a good model with the appropriate privacy and reward systems that the blockchain offers for the public sharing of health data and quantified-self-tracking data, likewise there has not been a model or means of sharing mental performance data. In the case of mental performance data, there is even more stigma attached to sharing personal data, but these kinds of “life-streaming + blockchain technology” models could facilitate a number of ways to share data privately, safely, and remuneratively. As mentioned, in the vein of life logging, there could be personal thinking blockchains to capture and safely encode all of an individual’s mental performance, emotions, and subjective experiences onto the blockchain, at minimum for backup and to pass on to one’s heirs as a historical record. Personal mindfile blockchains could be like a next generation of Fitbit or Apple’s iHealth on the iPhone 6, which now automatically captures 200+ health metrics and sends them to the cloud for data aggregation and imputation into actionable recommendations. Similarly, personal thinking blockchains could be easily and securely recorded (assuming all of the usual privacy concerns with blockchain technology are addressed) and mental performance recommendations made to individuals through services such as Siri or Amazon’s Alexa voice assistant, perhaps piped seamlessly through personal brain/computer interfaces and delivered as both conscious and unconscious suggestions. Again perhaps speculatively verging on science fiction, ultimately the whole of a society’s history might include not just a public records and document repository, and an Internet archive of all digital activity, but also the mindfiles of individuals. Mindfiles could include the recording of every “transaction” in the sense of capturing every thought and emotion of every entity, human and machine, encoding and archiving this activity into life-logging blockchains.

For this reason- the sentimental mementos of personal relationships collectively stockpiled and interlinked within the vast archives of the site- Facebook has become an important place for remembrance, a nostalgic campfire that draws together old friends in my memory. It is also a virtual medium through which my now-distant friends and I keep track of the ongoing stories of each others’ lives, enabling us to “groom” one another in a variety of ways- sending Gifts, playing Scrabulous, or taking the time to write a humorous or thoughtful Wall Post. The glow of this campfire may make invisible the surrounding forest and the wolves that lurk within, waiting for their chance to steal our source of sustenance for their own gain.

Medieval illustrations of the mind from the fourteenth century depict memories like snakes feeding into the imagination and, long before this, both Aristotle and Galen described memories not as archives of our lives, but as tools for the imagination.

Memory of the elderly monk survived in the accounts of some of the greatest leaders in medieval Europe, along with lengthy accounts in the Vatican archives, but he was soon forgotten in the West and in his homeland of China.

when the atrocities a person has lived through are passed over in silence for lack of any trace or archive, paying tribute to someone would be a hoax. How do you convey Africa’s silences?” Then

But it wasn’t just the prospect of returning that drew him. It was not the memory of floating spires and air heavy with music. It was the prospect of stopping. Of truly belonging somewhere again. It was the idea of slowing his steps and turning his eyes to a place that saw him, that recognised him, that claimed him. It was that concept, the cessation of motion, that drove his words.

Although believed to be situated in the far north of Europe, Durmstrang is one of the most secretive of all schools about its whereabouts, so nobody can be quite certain. Visitors, who must comply with memory charms to erase their knowledge of how they got there, speak of vast, sprawling grounds with many stunning views, not least of the great, dark, spectral ship that is moored on a mountain lake behind the school, from which students dive in summertime.

Here and there, info-pillars displayed images from the earliest centuries of colonisation and the wars that shaped the destiny of the moons of Jupiter. Much of it, unfortunately, almost hilariously inaccurate. More had been forgotten than he could have anticipated. Perhaps, before he departed, he would donate some of his memories to Europa’s archives. As he had told the guide, after all, he went back a long way. 

A quicker way to stem flight risk and activism is tuning in to employee voices! Smart organisations protect memory via formal processes such as professional data archiving and recording critical conversations, interviews and meetings.

these archival and historiographical gaps I encountered tell us something: they tell us how the memory of women’s lives is easily forgotten and how the silence can make us believe that women were not fully participating in everyday life throughout the twentieth century.

Did you know that your brain works like a database? It’s constantly trying to figure out what interests you and show you more of that. If you focus on the negative it will show you more negatives, and the more you focus on a specific memory the more your brain will play it for you. In time, it’ll archive memories you don’t think about. They’ll be forgotten as if they never happened.

Shallan fell to her knees, arms wrapped around herself, trembling. “Oh storms … Oh, God of Oaths…” She felt a hand on her shoulder. “It’s all right, Shallan,” Veil whispered. “It’s all right.” “I know what you are,” Shallan whispered. “You’re the blankness upon my memories. The part of me that looks away. The part of my mind that protects me from my past.” “Of course I am,” Veil said. “I’m your veil, Shallan.

Christine had gone into the city archives, found them in an old City of Edmonton telephone book. Her family was in a book. Her family and herself were defined by a street, an avenue, and a phone number. This line of type will rearrange itself into a story of ghosts in that place. A story of her ghost. Christine thought of herself as a child, with no idea of the world but all the ideas of the world. Maybe this was her dream self. She wasn't sure anymore.

Is this not the archive that can only be entered by the royal family?” I asked. “I would not think so. This is a very old memory, but I recall archduke candidates being able to enter as well. Furthermore... not once have I attempted to hide anything. In fact, during many an Archduke Conference have I asked for the king to come here.

reader doesn’t mark his life by days but by memories. A book doesn’t mark its life by pages but by readers. We are made up of those whom we touch.

Paperwork management was provisional and makeshift. Rochefort and his principal analysts knew they ought to devise a proper filing system, with cross-indexing of archived messages, but they never found the time for that. Somehow, through the blizzard of decrypts and IBM cards, order prevailed over chaos. “This is one reason why these people are mostly crazy,” Rochefort later recalled. “We’d have no problem at all.” You’d mention something and you’d say, “Now wait a minute. Back here when they were around Halmahera on their way down to a landing at Port Something-or-other, there was a message like this. Let’s have it.” And they’d look in this pile of junk and they were able to locate it. . . . And then of course, you’d get a new one here and this leads to another thing over here and this leads to another thing and this is how you fill the whole works up. One letter leads to another and that leads to a third one and so on. Then that’s when your memory comes in very handy. Holmes added that a cryptanalyst “needs only time, patience, an infinite capacity for work, a mind that can focus on one problem to the exclusion of everything else, a photographic memory, the inability to drop an unsolved problem, and a large volume of traffic.

Right now each of us is a private oral culture. We rewrite our pasts to suit our needs and support the story we tell about ourselves. With our memories we are all guilty of a Whig interpretation of our personal histories, seeing our former selves as steps toward our glorious present selves. But that era is coming to an end. Remem is merely the first of a new generation of memory prostheses, and as these products gain widespread adoption, we will be replacing our malleable organic memories with perfect digital archives. We will have a record of what we actually did instead of stories that evolve over repeated tellings. Within our minds, each of us will be transformed from an oral culture into a literate one.

A reader doesn’t mark his life by days but by memories. A book doesn’t mark its life by pages but by readers.

Czechs, Germans, Poles, Frenchmen came to Aleks, sometimes in the barracks after working hours, sometimes out of doors, discreetly appealing to him to include their camp creation in the annals of his mind. “Aleks,” they would say, “do you have some room in your archive?” He would close his eyes and respond, “Dictate it to me.” Sometimes, a man might come back to him a month later to check if he had memorized his song accurately. Aleks welcomed the challenge because he could always reproduce the songs. Aleks memorized each line that a prisoner brought him, each comma, each semicolon, each dramatic pause, exactly as the hypnotist Roob had taught him to do in 1926 after the shock of a live wire destroyed his ability to speak. Over time, as Aleks memorized more and more songs, it felt as though an octopus of camp culture undulated within him, ever expanding as the hatred and harm and the most intimate longings of so many prisoners filled his being.

She was my champion, she was my archive. She had taken the utmost care to preserve the evidence of my existence and growth, capturing me in images, saving all my documents and possessions. She had all knowledge of my being memorized. The time I was born, my unborn cravings, the first book I read. The formation of every characteristic. Every ailment and little victory. She observed me with unparalleled interest, inexhaustible devotion. Now that she was gone, there was no one left to ask about these things. The knowledge left unrecorded died with her. What remained were documents and my memories, and now it was up to me to make sense of myself, aided by the signs she left behind. How cyclical and bittersweet for a child to retrace the image of their mother. For a subject to turn back to document their archivist.

Even at Yad Vashem, the country’s official Holocaust archive, museum and memorial in Jerusalem, the Auschwitz Report was filed away without the names of its authors. When historians referred to the report, they tended to speak of ‘two young escapees’ or ‘two Slovak escapees’ as if the identities of the men who had performed this remarkable deed were incidental. What might explain this relative lack of recognition? It certainly did not help Wetzler that he was out of sight of western writers and historians and, therefore, mostly out of mind. As for Rudi, while he was accessible, and a model interviewee, he was not an easy sell in Israel or in the mainstream Jewish diaspora. Those audiences would have thrilled to hear the story of his escape and his mission to tell the world of Auschwitz, but he never left it at that. He would not serve up a morally comfortable narrative in which the only villains were the Nazis. Instead he always insisted on hitting out at Kasztner and the Hungarian Jewish leadership, as well as the Jewish council in Slovakia. He faulted them for failing to pass on his report and, in the Slovak case, for compiling the lists that had put him on a deportation train in the first place.

I can't remember [how old I am], but I'm pretty sure I'm a Scorpio.