http://www.cultureandcommunication.org/deadmedia/index.php?title=Mnemonics&feed=atom&action=historyMnemonics - Revision history2024-03-29T14:36:44ZRevision history for this page on the wikiMediaWiki 1.25.2http://www.cultureandcommunication.org/deadmedia/index.php?title=Mnemonics&diff=12663&oldid=prevFinnb: Undo revision 12564 by Egugecuge (Talk)2010-11-24T14:34:49Z<p>Undo revision 12564 by <a href="/deadmedia/index.php/Special:Contributions/Egugecuge" title="Special:Contributions/Egugecuge">Egugecuge</a> (<a href="/deadmedia/index.php?title=User_talk:Egugecuge&action=edit&redlink=1" class="new" title="User talk:Egugecuge (page does not exist)">Talk</a>)</p>
<a href="http://www.cultureandcommunication.org/deadmedia/index.php?title=Mnemonics&diff=12663&oldid=12564">Show changes</a>Finnbhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Mnemonics&diff=12564&oldid=prevEgugecuge at 05:36, 24 November 20102010-11-24T05:36:22Z<p></p>
<a href="http://www.cultureandcommunication.org/deadmedia/index.php?title=Mnemonics&diff=12564&oldid=8762">Show changes</a>Egugecugehttp://www.cultureandcommunication.org/deadmedia/index.php?title=Mnemonics&diff=8762&oldid=prevGillian Young at 13:12, 19 April 20102010-04-19T13:12:16Z<p></p>
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</table>Gillian Younghttp://www.cultureandcommunication.org/deadmedia/index.php?title=Mnemonics&diff=8668&oldid=prevGillian Young: /* Modern memory: the return of the repressed? */2010-04-12T16:50:32Z<p><span dir="auto"><span class="autocomment">Modern memory: the return of the repressed?</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Two notable depictions of wax as the material substrate of memory bracket Kittler’s year 1900: Jean-Marie Guyau’s Memory and Phonograph (1880) and Sigmund Freud’s Note Upon the ‘Mystic-Writing Pad’ (1925). “What good are the poetic mnemonic techniques of rhyme and meter when wax rolls can store not only substance and tone but real sounds?” (Kittler 1992, 236), Kittler asks in ''Discourse Networks, 1800/1900''. Guyau addressed this anxiety of the inferiority of human memory and the limits of language early on by claiming the phonograph as the most exact metaphor for man’s ability to record and recite—to read, write, and speak. Notions of manipulating the memory with images, places, and signs is replaced with a techno-scientific inscription in Guyau’s comparison: “Upon speaking into a phonograph, the vibrations of one’s voice are transferred into a point that engraves lines on a metal plate…in analogous ways, invisible lines are incessantly carved into the brain cells” (qtd. in Kittler 1999, 30-31). In Guyau's view, the materiality of the modern mind must be akin to the phonograph's metal plate and wax rolls, because, unlike the wax tablet which can only record spoke words, these mechanisms can fix unwritable data flows and capture the noise of modern life.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Two notable depictions of wax as the material substrate of memory bracket Kittler’s year 1900: Jean-Marie Guyau’s Memory and Phonograph (1880) and Sigmund Freud’s Note Upon the ‘Mystic-Writing Pad’ (1925). “What good are the poetic mnemonic techniques of rhyme and meter when wax rolls can store not only substance and tone but real sounds?” (Kittler 1992, 236), Kittler asks in ''Discourse Networks, 1800/1900''. Guyau addressed this anxiety of the inferiority of human memory and the limits of language early on by claiming the phonograph as the most exact metaphor for man’s ability to record and recite—to read, write, and speak. Notions of manipulating the memory with images, places, and signs is replaced with a techno-scientific inscription in Guyau’s comparison: “Upon speaking into a phonograph, the vibrations of one’s voice are transferred into a point that engraves lines on a metal plate…in analogous ways, invisible lines are incessantly carved into the brain cells” (qtd. in Kittler 1999, 30-31). In Guyau's view, the materiality of the modern mind must be akin to the phonograph's metal plate and wax rolls, because, unlike the wax tablet which can only record spoke words, these mechanisms can fix unwritable data flows and capture the noise of modern life.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Freud’s use of the [[mystic-writing pad]] as an analogy for the psyche also revises the idea of memory and inscription. Freud dismisses mnemonics right off the bat: “If I distrust my memory,” he begins, “I am able to supplement and guarantee its working by making a note in writing” (Freud 227). External “devices to aid memory” (228) are imperfect compared to our own sensory apparatus, however, which “has an unlimited receptive capacity for new perceptions and nevertheless lays down permanent—even though not unalterable—memory-traces of them” (228). Though he distrusts his memory, Freud echoes the ancient Greeks in imagining the psychic apparatus as a remediation of the wax tablet: the mystic-writing pad. Unlike the imagined mnemonic tablet, however, Freud’s pad is not consciously inscribed, but “receives perceptions (which are <del class="diffchange diffchange-inline">accompanied—but are not consciously manipulated—"</del>by consciousness)and passes the excitation on to the unconscious mnemic systems” (231).</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Freud’s use of the [[mystic-writing pad]] as an analogy for the psyche also revises the idea of memory and inscription. Freud dismisses mnemonics right off the bat: “If I distrust my memory,” he begins, “I am able to supplement and guarantee its working by making a note in writing” (Freud 227). External “devices to aid memory” (228) are imperfect compared to our own sensory apparatus, however, which “has an unlimited receptive capacity for new perceptions and nevertheless lays down permanent—even though not unalterable—memory-traces of them” (228). Though he distrusts his memory, Freud echoes the ancient Greeks in imagining the psychic apparatus as a remediation of the wax tablet: the mystic-writing pad. Unlike the imagined mnemonic tablet, however, Freud’s pad is not consciously inscribed, but “receives perceptions (which are <ins class="diffchange diffchange-inline">accompanied </ins>by consciousness)and passes the excitation on to the unconscious mnemic systems” (231)<ins class="diffchange diffchange-inline">. In Freud's illustration of the psyche, it is not the individual who consciously writes upon his or her memory, but the  semi-conscious (and potentially traumatic) perceptions that exceed language which mark the material substrate of the mind</ins>.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Though these modern articulations of the mind destabilize the ability of human memory (assumed by mnemonics) and man’s conscious power over it (and symbolized by wax), they are haunted by the idea of control and power that they repress. Guyau and Freud participate in the same endeavor to represent the black box of the mind, reiterating the art of memory via technological and psycho-scientific metaphor.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Though these modern articulations of the mind destabilize the ability of human memory (assumed by mnemonics) and man’s conscious<ins class="diffchange diffchange-inline">, literate </ins>power over it (and symbolized by wax), they are haunted by the idea of control and power that they repress. Guyau and Freud participate in the same endeavor to represent the black box of the mind, reiterating the art of memory via technological and psycho-scientific metaphor.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
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</table>Gillian Younghttp://www.cultureandcommunication.org/deadmedia/index.php?title=Mnemonics&diff=8666&oldid=prevGillian Young: /* Modern memory: the return of the repressed? */2010-04-12T16:41:44Z<p><span dir="auto"><span class="autocomment">Modern memory: the return of the repressed?</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Two notable depictions of wax as the material substrate of memory bracket Kittler’s year 1900: Jean-Marie Guyau’s Memory and Phonograph (1880) and Sigmund Freud’s Note Upon the ‘Mystic-Writing Pad’ (1925). “What good are the poetic mnemonic techniques of rhyme and meter when wax rolls can store not only substance and tone but real sounds?” (Kittler 1992, 236), Kittler asks in ''Discourse Networks, 1800/1900''. Guyau addressed this anxiety of the inferiority of human memory and the limits of language early on by claiming the phonograph as the most exact metaphor for man’s ability to record and recite—to read, write, and speak. Notions of manipulating the memory with images, places, and signs is replaced with a techno-scientific inscription in Guyau’s comparison: “Upon speaking into a phonograph, the vibrations of one’s voice are transferred into a point that engraves lines on a metal plate…in analogous ways, invisible lines are incessantly carved into the brain cells” (qtd. in Kittler 1999, 30-31).</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Two notable depictions of wax as the material substrate of memory bracket Kittler’s year 1900: Jean-Marie Guyau’s Memory and Phonograph (1880) and Sigmund Freud’s Note Upon the ‘Mystic-Writing Pad’ (1925). “What good are the poetic mnemonic techniques of rhyme and meter when wax rolls can store not only substance and tone but real sounds?” (Kittler 1992, 236), Kittler asks in ''Discourse Networks, 1800/1900''. Guyau addressed this anxiety of the inferiority of human memory and the limits of language early on by claiming the phonograph as the most exact metaphor for man’s ability to record and recite—to read, write, and speak. Notions of manipulating the memory with images, places, and signs is replaced with a techno-scientific inscription in Guyau’s comparison: “Upon speaking into a phonograph, the vibrations of one’s voice are transferred into a point that engraves lines on a metal plate…in analogous ways, invisible lines are incessantly carved into the brain cells” (qtd. in Kittler 1999, 30-31)<ins class="diffchange diffchange-inline">. In Guyau's view, the materiality of the modern mind must be akin to the phonograph's metal plate and wax rolls, because, unlike the wax tablet which can only record spoke words, these mechanisms can fix unwritable data flows and capture the noise of modern life</ins>.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Freud’s use of the [[mystic-writing pad]] as an analogy for the psyche also revises the idea of memory and inscription. Freud dismisses mnemonics right off the bat: “If I distrust my memory,” he begins, “I am able to supplement and guarantee its working by making a note in writing” (Freud 227). External “devices to aid memory” (228) are imperfect compared to our own sensory apparatus, however, which “has an unlimited receptive capacity for new perceptions and nevertheless lays down permanent—even though not unalterable—memory-traces of them” (228). Though he distrusts his memory, Freud echoes the ancient Greeks in imagining the psychic apparatus as a remediation of the wax tablet: the mystic-writing pad. Unlike the imagined mnemonic tablet, however, Freud’s pad is not consciously inscribed, but “receives perceptions (which are accompanied—but are not consciously manipulated—"by consciousness)and passes the excitation on to the unconscious mnemic systems” (231).</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Freud’s use of the [[mystic-writing pad]] as an analogy for the psyche also revises the idea of memory and inscription. Freud dismisses mnemonics right off the bat: “If I distrust my memory,” he begins, “I am able to supplement and guarantee its working by making a note in writing” (Freud 227). External “devices to aid memory” (228) are imperfect compared to our own sensory apparatus, however, which “has an unlimited receptive capacity for new perceptions and nevertheless lays down permanent—even though not unalterable—memory-traces of them” (228). Though he distrusts his memory, Freud echoes the ancient Greeks in imagining the psychic apparatus as a remediation of the wax tablet: the mystic-writing pad. Unlike the imagined mnemonic tablet, however, Freud’s pad is not consciously inscribed, but “receives perceptions (which are accompanied—but are not consciously manipulated—"by consciousness)and passes the excitation on to the unconscious mnemic systems” (231).</div></td></tr>
</table>Gillian Younghttp://www.cultureandcommunication.org/deadmedia/index.php?title=Mnemonics&diff=8665&oldid=prevErin: /* Case Study or Trace Study of the Memory Palace */2010-04-12T16:40:13Z<p><span dir="auto"><span class="autocomment">Case Study or Trace Study of the Memory Palace</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[File:Fludd-the-art-of-memory-89.jpg|thumb|right|Engraving by Robert Fludd revealing memory attached to images]]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[File:Fludd-the-art-of-memory-89.jpg|thumb|right|Engraving by Robert Fludd revealing memory attached to images]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Memory Palaces are methods of loci which use an imagined architecture to structure a speech based on associations of symbols. They are a spatialized remediation of association. Before memory palaces were implemented, hieroglyphs and other forms of picture writing were already using symbols to stand in for words and ideas. Memory palaces abstract this notion of association and complicate it in order to allow one to remember hundreds of ideas. While mnemonics can be written down, the memory palace is completely imagined, and therefore the process and the media is black boxed within the mind of the subject, and like Iris, the message or information is internalized. This method was developed out of a human lack, and the need to remember large amounts of information. When using the memory palace, one needs only to remember the symbols, after which the encoded information becomes unlocked like the chirograph which connects to its counterpart. Memory palaces were constructed out of an anxiety for memory being lost, but in reality it is always already lost.  </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Memory Palaces are methods of loci which use an imagined architecture to structure a speech based on associations of symbols. They are a spatialized remediation of association. Before memory palaces were implemented, hieroglyphs and other forms of picture writing were already using symbols to stand in for words and ideas. Memory palaces abstract this notion of association and complicate it in order to allow one to remember hundreds of ideas. While mnemonics can be written down, the memory palace is completely imagined, and therefore the process and the media is black boxed within the mind of the subject, and like Iris, the message or information is internalized<ins class="diffchange diffchange-inline">. The memory palace is evoked, in the same way the muse used to be evoked, in order to help the speaker remember his or her message</ins>. This method was developed out of a human lack, and the need to remember large amounts of information. When using the memory palace, one needs only to remember the symbols, after which the encoded information becomes unlocked like the chirograph which connects to its counterpart. Memory palaces were constructed out of an anxiety for memory being lost, but in reality it is always already lost.  </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>This mode of mediation is based on location, but it itself has no location and exists as a non-space that stores imagined data. The subject that uses the memory palace becomes split and is forced to inhabit two realities as one must imagine walking through the memory palace and picking up each predetermined object while simultaneously being rooted in a physical space and delivering a live speech to an audience. The subject must navigate the memory palace like an automaton on automatic pilot but cannot get fully immersed or lost in it. Discipline of the mind and the body is necessary since the subject cannot think, but must become a machine and instrument for the reading of memory.  </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>This mode of mediation is based on location, but it itself has no location and exists as a non-space that stores imagined data. The subject that uses the memory palace becomes split and is forced to inhabit two realities as one must imagine walking through the memory palace and picking up each predetermined object while simultaneously being rooted in a physical space and delivering a live speech to an audience. The subject must navigate the memory palace like an automaton on automatic pilot but cannot get fully immersed or lost in it. Discipline of the mind and the body is necessary since the subject cannot think, but must become a machine and instrument for the reading of memory.  </div></td></tr>
</table>Erinhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Mnemonics&diff=8661&oldid=prevErin: /* Memory as Archive and Crypt */2010-04-12T16:37:03Z<p><span dir="auto"><span class="autocomment">Memory as Archive and Crypt</span></span></p>
<table class='diff diff-contentalign-left'>
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<tr style='vertical-align: top;'>
<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 16:37, 12 April 2010</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L52" >Line 52:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[File:Afterimage1.JPG|thumb|left|Purkyně's "artery figure" taken from Zielinksi's ''Deep Time of the Media'']]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[File:Afterimage1.JPG|thumb|left|Purkyně's "artery figure" taken from Zielinksi's ''Deep Time of the Media'']]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>The effacing of Erinnerung caused by Gedächtnis also speaks to the idea of an afterimage which effaces the original image. The memory palace is an afterimage and faint impression of one’s home which it replaces. Jonathan Crary writes that the afterimage “…allowed one to conceive of sensory perception as cut from any necessary link with an external referent. The afterimage – the presence of sensation in the absence of a stimulus – and its subsequent modulations posed a theoretical and empirical demonstration of autonomous vision, of an optical experience that was produced by and within the subject (Crary 98).” The afterimage of the memory palace is detachable, once it is created the originary house isn’t necessary to evoke it, rather it can be evoked independently by the subject. Derrida’s concept of the “trace” is essentially the afterimage of a sign. While memory palaces are the navigation of symbols within a space, where space itself is also a symbol, the nature of these symbols are imagined and therefore nonpresent. Derrida saw signs as related to living memory, and the “trace” as having to do with dead memory  Derrida writes, “The trace is not a presence but is rather the simulacrum of a presence that dislocates, displaces, and refers beyond itself. The trace has, properly speaking, no place, for effacement belongs to the very structure of the trace. Effacement must always be able to overtake the trace; otherwise it would not be a trace but an indestructible and monumental substance (Derrida 156).” The trace refers to that which is no longer present, leaving only the relics and remains to be read.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>The effacing of Erinnerung caused by Gedächtnis also speaks to the idea of an afterimage which effaces the original image. The memory palace is an afterimage and faint impression of one’s home which it replaces. Jonathan Crary writes that the afterimage “…allowed one to conceive of sensory perception as cut from any necessary link with an external referent. The afterimage – the presence of sensation in the absence of a stimulus – and its subsequent modulations posed a theoretical and empirical demonstration of autonomous vision, of an optical experience that was produced by and within the subject (Crary 98).” The afterimage of the memory palace is detachable, once it is created the originary house isn’t necessary to evoke it, rather it can be evoked independently by the subject. Derrida’s concept of the “trace” is essentially the afterimage of a sign. While memory palaces are the navigation of symbols within a space, where space itself is also a symbol, the nature of these symbols are imagined and therefore nonpresent. Derrida saw signs as related to living memory, and the “trace” as having to do with dead memory  Derrida writes, “The trace is not a presence but is rather the simulacrum of a presence that dislocates, displaces, and refers beyond itself. The trace has, properly speaking, no place, for effacement belongs to the very structure of the trace. Effacement must always be able to overtake the trace; otherwise it would not be a trace but an indestructible and monumental substance (Derrida 156).” The trace refers to that which is no longer present, leaving only the relics and remains to be read.</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>====Memory as Archive and Crypt====</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>====Memory as Archive and Crypt====</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[File:044MemoryBook200.jpg|thumb|right|human brain as memory archive]]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[File:044MemoryBook200.jpg|thumb|right|human brain as memory archive]]</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Memory palaces are a static archive of files. Vismann writes, “The immobile tomes are their own tombs...The immobilization amounts to a musealization, creating a work of art out of files (Vismann 161-162).” The memory palace echoes this sentiment and acts more as a mausoleum than a museum. The frozen architecture of the memory palace is doubled by the frozen images within it, turning the palace into a crypt. The shaping of the memory palace into a petrified and dead picture reveals the artifice of constructed memory. Its static and spectral quality lends it to the space of the crypt and removes it from the space of the living. It is the dead memory that must be summoned by the speaker, called to as the missing Other, and resurrected into the present.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Memory palaces are a static archive of <ins class="diffchange diffchange-inline">files. Cornelia Vismann links the structure of fixed archives to tombs which seal and bury </ins>files. Vismann writes, “The immobile tomes are their own tombs...The immobilization amounts to a musealization, creating a work of art out of files (Vismann 161-162).” The memory palace echoes this sentiment and acts more as a mausoleum than a museum. The frozen architecture of the memory palace is doubled by the frozen images within it, turning the palace into a crypt. The shaping of the memory palace into a petrified and dead picture reveals the artifice of constructed memory. Its static and spectral quality lends it to the space of the crypt and removes it from the space of the living. It is the dead memory that must be summoned by the speaker, called to as the missing Other, and resurrected into the present.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>====Forgetting====</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>====Forgetting====</div></td></tr>
</table>Erinhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Mnemonics&diff=8656&oldid=prevErin: /* Case Study or Trace Study of the Memory Palace */2010-04-12T16:33:11Z<p><span dir="auto"><span class="autocomment">Case Study or Trace Study of the Memory Palace</span></span></p>
<table class='diff diff-contentalign-left'>
<col class='diff-marker' />
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<col class='diff-marker' />
<col class='diff-content' />
<tr style='vertical-align: top;'>
<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 16:33, 12 April 2010</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L41" >Line 41:</td>
<td colspan="2" class="diff-lineno">Line 41:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[File:Fludd-the-art-of-memory-89.jpg|thumb|right|Engraving by Robert Fludd revealing memory attached to images]]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[File:Fludd-the-art-of-memory-89.jpg|thumb|right|Engraving by Robert Fludd revealing memory attached to images]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Memory Palaces are methods of loci which use an imagined architecture to structure a speech based on associations of symbols. They are a spatialized remediation of association. Before memory palaces were implemented, hieroglyphs and other forms of picture writing were already using symbols to stand in for words and ideas. Memory palaces abstract this notion of association and complicate in order to allow one to remember hundreds of ideas. While mnemonics can be written down, the memory palace is completely imagined, and therefore the process and the media is black boxed within the mind of the subject, and like Iris, the message or information is internalized. This method was developed out of a human lack, and the need to remember large amounts of information. When using the memory palace, one needs only to remember the symbols, after which the encoded information becomes unlocked like the chirograph which connects to its counterpart. Memory palaces were constructed out of an anxiety for memory being lost, but in reality it is always already lost.  </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Memory Palaces are methods of loci which use an imagined architecture to structure a speech based on associations of symbols. They are a spatialized remediation of association. Before memory palaces were implemented, hieroglyphs and other forms of picture writing were already using symbols to stand in for words and ideas. Memory palaces abstract this notion of association and complicate <ins class="diffchange diffchange-inline">it </ins>in order to allow one to remember hundreds of ideas. While mnemonics can be written down, the memory palace is completely imagined, and therefore the process and the media is black boxed within the mind of the subject, and like Iris, the message or information is internalized. This method was developed out of a human lack, and the need to remember large amounts of information. When using the memory palace, one needs only to remember the symbols, after which the encoded information becomes unlocked like the chirograph which connects to its counterpart. Memory palaces were constructed out of an anxiety for memory being lost, but in reality it is always already lost.  </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>This mode of mediation is based on location, but it itself has no location and exists as a non-space that stores imagined data. The subject that uses the memory palace becomes split and is forced to inhabit two realities as one must imagine walking through the memory palace and picking up each predetermined object while simultaneously being rooted in a physical space and delivering a live speech to an audience. The subject must navigate the memory palace like an automaton on automatic pilot but cannot get fully immersed or lost in it. Discipline of the mind and the body is necessary since the subject cannot think, but must become a machine and instrument for the reading of memory.  </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>This mode of mediation is based on location, but it itself has no location and exists as a non-space that stores imagined data. The subject that uses the memory palace becomes split and is forced to inhabit two realities as one must imagine walking through the memory palace and picking up each predetermined object while simultaneously being rooted in a physical space and delivering a live speech to an audience. The subject must navigate the memory palace like an automaton on automatic pilot but cannot get fully immersed or lost in it. Discipline of the mind and the body is necessary since the subject cannot think, but must become a machine and instrument for the reading of memory.  </div></td></tr>
</table>Erinhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Mnemonics&diff=8654&oldid=prevErin: /* Forgetting */2010-04-12T16:29:05Z<p><span dir="auto"><span class="autocomment">Forgetting</span></span></p>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 16:29, 12 April 2010</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>====Forgetting====</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>====Forgetting====</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Memory Palaces must be practiced, otherwise they are prone to being forgotten. They are meant to be remembered for a specific event, such as a specific speech, but once the event has passed, the memory palace recedes, shatters, and erases itself into the depths of the mystic writing pad’s unconscious. The memory palace, then, is made to be forgotten. Vismann writes, “With one sharp and one blunt end, the stylus unites writing and erasing, those two fundamental chancery operations, in one instrument. Herein lies an analogy to the workings of memory: just as the Greek verb hypomnematizesthai equates filing and remembering, its opposite, exaleiphein, combines a practical act and a function of memory by referring both to forgetting and wiping off (Vismann 55).” In this sense the memory palace is obliterated and becomes buried as a trace and remnant. Memory and forgetting work as though in a circuit, the production of one is almost always the production of the other, to remember one thing often causes one to forget another less relevant thing. Vismann also discusses forgetting as enabling memory, just as the afterimage or trace enables the original image, or the second gives birth to the first. Mechanical reproduction also enables the original, revealing the necessity of the copy and the negation in order to preserve the referent. There is only so much space in the human brain, therefore acquiring new information or new memories must also imply a certain amount of forgetting.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Memory Palaces must be practiced, otherwise they are prone to being forgotten<ins class="diffchange diffchange-inline">. Practice and performance keeps artificial memory alive, otherwise it returns to the crypt</ins>. They are meant to be remembered for a specific event, such as a specific speech, but once the event has passed, the memory palace recedes, shatters, and erases itself into the depths of the mystic writing pad’s unconscious. The memory palace, then, is made to be forgotten. Vismann writes, “With one sharp and one blunt end, the stylus unites writing and erasing, those two fundamental chancery operations, in one instrument. Herein lies an analogy to the workings of memory: just as the Greek verb hypomnematizesthai equates filing and remembering, its opposite, exaleiphein, combines a practical act and a function of memory by referring both to forgetting and wiping off (Vismann 55).” In this sense the memory palace is obliterated and becomes buried as a trace and remnant. Memory and forgetting work as though in a circuit, the production of one is almost always the production of the other, to remember one thing often causes one to forget another less relevant thing. Vismann also discusses forgetting as enabling memory, just as the afterimage or trace enables the original image, or the second gives birth to the first. Mechanical reproduction also enables the original, revealing the necessity of the copy and the negation in order to preserve the referent. There is only so much space in the human brain, therefore acquiring new information or new memories must also imply a certain amount of forgetting.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Mnemonic Expression: Writing Secrets and Speaking the Mind==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Mnemonic Expression: Writing Secrets and Speaking the Mind==</div></td></tr>
</table>Erinhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Mnemonics&diff=8651&oldid=prevGillian Young: /* Antique imaginary: the obvious */2010-04-12T16:26:57Z<p><span dir="auto"><span class="autocomment">Antique imaginary: the obvious</span></span></p>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 16:26, 12 April 2010</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>====Antique imaginary: the obvious====</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>====Antique imaginary: the obvious====</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Cicero’s ''De oratore'' (finished in 55 B.C.E.) is among the earliest treatises describing mnemonics as a rhetorical art (Yates 17). Cicero credits Simonides with the invention of the art of memory, when, with “with almost divine powers of memory,” he “wrote down what he wanted to remember in certain places in his possession by means of images, just as if he were describing letters on wax” (qtd. in Yates 19). Yates interprets Cicero’s portrayal of the origin of mnemonics as “an inner writing on wax” (19): Simonides internalizes the wax tablet, the medium for recording speech that Phaedrus famously concealed under his cloak in Plato’s dialogue. Cornelia Vismann identifies wax as the key medium in the shift from oral to written legal and administrative culture in the West. “To synchronize speech and writing,” Vismann describes, “the speedwriters or exceptores responsible for files and protocols drew their letters in wax, which, in Quintilian’s words, puts up as little resistance to inscribing as it does to erasing” (Vismann 55). These speedwriters also <del class="diffchange diffchange-inline">assigned </del>to take down the senate minutes, which “in search for the aura of the authentic,” “aim[ed] for [a] presentist effect” (54). Mnemonic systems were <del class="diffchange diffchange-inline">also </del>designed to uphold these cultural values of presence and authenticity, and were analogous to wax in their ability to suture oral performance and written record.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Cicero’s ''De oratore'' (finished in 55 B.C.E.) is among the earliest treatises describing mnemonics as a rhetorical art (Yates 17). Cicero credits Simonides with the invention of the art of memory, when, with “with almost divine powers of memory,” he “wrote down what he wanted to remember in certain places in his possession by means of images, just as if he were describing letters on wax” (qtd. in Yates 19). Yates interprets Cicero’s portrayal of the origin of mnemonics as “an inner writing on wax” (19): Simonides internalizes the wax tablet, the medium for recording speech that Phaedrus famously concealed under his cloak in Plato’s dialogue. Cornelia Vismann identifies wax as the key medium in the shift from oral to written legal and administrative culture in the West. “To synchronize speech and writing,” Vismann describes, “the speedwriters or exceptores responsible for files and protocols drew their letters in wax, which, in Quintilian’s words, puts up as little resistance to inscribing as it does to erasing” (Vismann 55). These speedwriters <ins class="diffchange diffchange-inline">were </ins>also <ins class="diffchange diffchange-inline">employed </ins>to take down the senate minutes, which “in search for the aura of the authentic,” “aim[ed] for [a] presentist effect” (54). Mnemonic systems were <ins class="diffchange diffchange-inline">likewise </ins>designed to uphold these cultural values of presence and authenticity, and were analogous to wax in their ability to suture oral performance and written record.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image: waxtablet.jpg|left|300px|thumb|A Grecian wax tablet.]]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image: waxtablet.jpg|left|300px|thumb|A Grecian wax tablet.]]</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Wax was thus the obvious material through (and on) which to describe mnemonics, which interfaced between speech and writing. The metaphor has an additional layer: as a malleable, hand-held medium, the wax tablet suggests that the memory is <del class="diffchange diffchange-inline">likewise </del>easily manipulable by an autonomous author. Cicero renders Simonides as the authorial agent of his inner wax tablet, and thus in control of his memory. Nearly two millennia later, during the modern turn, the idea that one could rely on—let alone control—one’s memory was undercut by the development of recording technologies and the rise of psychoanalytic theories of trauma and repression. Curiously, at this historical moment, the connection between wax and memory that once portrayed both mnemonics and the inner-workings of the classical mind is again applied to <del class="diffchange diffchange-inline">the mind</del>. This later incarnation of inner wax, however, is not subject to authorial intent, but inscribed upon by machines and the Unconscious.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Wax was thus the obvious material through (and on) which to describe mnemonics, which interfaced between speech and writing. The metaphor has an additional layer: as a malleable, hand-held medium, the wax tablet suggests that the memory is <ins class="diffchange diffchange-inline">also </ins>easily manipulable by an autonomous author. Cicero renders Simonides as the authorial agent of his inner wax tablet, and thus in control of his memory. Nearly two millennia later, during the modern turn, the idea that one could rely on—let alone control—one’s memory was undercut by the development of recording technologies and the rise of psychoanalytic theories of trauma and repression. Curiously, at this historical moment, the connection between wax and memory that once portrayed both mnemonics and the inner-workings of the classical mind is again applied to <ins class="diffchange diffchange-inline">mental faculties</ins>. This later incarnation of inner wax, however, is not subject to authorial intent, but inscribed upon by machines and the Unconscious.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>====Modern memory: the return of the repressed?====</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>====Modern memory: the return of the repressed?====</div></td></tr>
</table>Gillian Young