Download Photography, Music and Memory: Pieces of the Past in by Michael Pickering, Emily Keightley PDF
By Michael Pickering, Emily Keightley
This booklet explores how images and recorded song act as cars or catalysts in procedures of remembering, and the way they're seemed, taken care of, valued and drawn upon as assets connecting prior and found in daily life. It does so through key thoughts: vernacular reminiscence and the mnemonic mind's eye.
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From the Preface :
This booklet illustrates a set of track manuscripts which was once made in recent times to profit the root for modern functionality Arts. the gathering was resolute through situations instead of any strategy of choice. hence it indicates the various instructions during which tune notation is now going. The manuscripts usually are not prepared based on different types of track, yet alphabetically in keeping with the composer's identify. No explanatory details is given.
The textual content for the e-book is the results of a procedure using I-Ching probability operations. those made up our minds what percentage phrases relating to his paintings have been to be written through or approximately which of 2 hundred and sixty-nine composers. the place those passages (never greater than sixty-four phrases, occasionally just one) were specially written for this publication, they're preceded by means of a paragraph signal and by way of the author's identify. different feedback have been selected or written by way of the editors - John Cage and Alison Knowles. not just the variety of phrases and the writer, however the typography too - letter dimension, depth, and typeface - have been all decided by accident operations. This strategy used to be on the way to reduce the variation among textual content and illustrations. The composition of the pages is the paintings of Alison Knowles.
A precedent for the textual content is the Questionnaire. (The composers have been requested to jot down approximately notation or some· factor proper to it. ) A precedent for the absence of data which characterizes this booklet is the modern aquarium (no longer a dismal hallway with every one species in its personal illuminated tank separated from the others and named in Latin): a wide glass condo with all of the fish in it swimming as in an ocean. the gathering of manuscripts constitutes an archive, the contents of that are indexed on the finish of this ebook. The editors are thankful to the various composers and track publishers who've made this presentation of mid-twentieth century song notation attainable.
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Additional info for Photography, Music and Memory: Pieces of the Past in Everyday Life
Sample text
37 Her work is of enormous value in providing a framework for understanding inherited experience and inter-generational mnemonic transmission, and particularly the complex relations of first- and second-hand experience among Holocaust 22 Photography, Music and Memory survivors and their offspring. 38 In addition to this, Hirsch’s key term seems to have built into it a set of temporal assumptions concerning ‘pre’ and ‘post’ that suggest reliance on a linear, progressive conception of time as a consequence of which it cannot provide an adequate analysis of how mnemonic transmission and synthesis operate, never mind account for the phenomenological sense of time dilating or expanding in relation to arresting experiences or memories of them.
3 It is this kind of complementarity that we want to pursue in thinking about media and memory. We want to do so because it is not as if auditory and visual cultures never meet, interact or play off each other. Throughout the past century they have been used together, as well as separately, as ways of representing or evoking the past. 4 We have undertaken the research that is drawn on this book in order to cut through such clichéd uses of personal photography and popular music, and discover instead what family snapshots or pieces of music mean for people in the vernacular connections they maintain, or forge, with the past.
In this respect, the approach we have taken to the case studies accords with our overall attempt to give due light to what is dissident, at least in relation to the rest of the data we have gathered, while also attempting to establish and set out the loose patterns that are identifiable within that data, relating these to the balance we tried to achieve across informants in the social categories of gender and generation, social class and ethnicity. Here our intention from the get-go was not to build a statistically representative sample but instead to select participants from these categories on the basis of their citation as possible sources of variation in personal media use and practices of remembering.