Edited By Stephen Wilson and Deborah Jaffé
What is a memory of the future? Is it a myth, a fiction of a severed arm, a post-human debate or a broken time machine? In an increasingly insecure future-world there is an urgency to consider and debate these questions. Memories of the Future: On Countervision addresses these concerns by speculating on the connections between memory and futurity in fields such as counter-histories, women’s studies, science fiction, art and design, technology, philosophy and politics. This book reveals how these subjects regenerate at the intersections of vision, counter-cultural production and the former present. The volume links the re-imaginings of memory into the present with topics such as the fever dream allegory of the adolescent social experience, soft technologies of future dress, reinventions of monetary exchange, rekindled subjectivities of school days, and technics and human progression. These countervisions argue against the homogenizing status quo of the present in order to challenge the customs, traditions and conventions of the past and propositions of the future.
Part II: Intersections of Memory, Formative Experience and Learned Culture
’ re-evaluates the personal and primary experience. The chapters convey an inescapable obligation to address and care about how these wilful subjects repurpose creative insights, through art and literature. A feminist future addresses Little Red Riding Hood and Snow White by pointing to learned culture and disabling the political and social status quo of the past. Then, by taking the canon of the Golden Age of children’s literature, the history and landscape that exist in these stories are researched through new perspectives of speculative fiction and shadow knowledge. These nar- ratives are a formative basis of memory and remind us of the intersections of childhood experience before being captured by a capitalist exchange of knowledge. These are widely contested concerns within the commercial investment in children’s literature. In an integrated narrative of text and image an artist’s conscious mirroring is presented, this is one that explores new relationships to content in drawn images. These workings of memory, through an understanding of historical and literary associations and experi- ences, re-examine the fragility to record and accurately expose the current value and meaning of formative experience. Finally, a countervision of a dystopian future is based on formative memories of school. This dystopian future past is viewed in a sci-fi musical and experimental narrative film that is created to focus on present day insecurities, neoliberal instabilities and human vulnerabilities. It is about the present usage of learned culture or units of knowing, based on a past experience and looking towards the dystopia. Julia...
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