Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Emil Hrvatin's Memory Cabinets

Emil Hrvatin's Memory Cabinets EMIL HRVATIN’S MEMORY CABINETS Marina Grzinic Camillo memo 4.0: The Cabinet of Memories—A Tear Donating Session, live installation by Emil Hrvatin, Ljubljana Museum, Slovenia, September 1998. M emory is a matter of time continuity, of having clearly the past, present, and future in synch with our bodies. Due to the Internet and computerized culture, it seems we have lost the past, and the future has meanwhile disappeared somewhere in cyberspace. In the instantaneous and obsessive (tele)presence that we live in today, accessing the Web and receiving audio/video streams, we are no longer in synch with the “stuff ” of memory, and therefore memory is waiting to be reappropriated or reinvented, when the time comes. Renaissance master of the art of memory, Giulio Camillo (1480–1544). Hrvatin’s project is an extremely intelligent way of questioning the value of memory. In The Cabinet of Memories the visitor/ participant/memory retriever has the possibility to enter three rooms/boxes/ cabinets: those of Individual Memory, of Collective Memory, and, if nothing works out, the participant is asked to enter the Cabinet of Physiological Memory. In the Cabinet of Individual Memory, a celestial blue satin-covered room/box/ cabinet (1 x 1.2 x 2m big), there is only http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

Emil Hrvatin's Memory Cabinets

PAJ: A Journal of Performance and Art , Volume 24 (2) – May 1, 2002

Loading next page...
 
/lp/mit-press/emil-hrvatin-s-memory-cabinets-jZupKxEzRd

References

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Publisher
MIT Press
Copyright
© 2002 Performing Arts Journal, Inc.
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/152028102760049373
Publisher site
See Article on Publisher Site

Abstract

EMIL HRVATIN’S MEMORY CABINETS Marina Grzinic Camillo memo 4.0: The Cabinet of Memories—A Tear Donating Session, live installation by Emil Hrvatin, Ljubljana Museum, Slovenia, September 1998. M emory is a matter of time continuity, of having clearly the past, present, and future in synch with our bodies. Due to the Internet and computerized culture, it seems we have lost the past, and the future has meanwhile disappeared somewhere in cyberspace. In the instantaneous and obsessive (tele)presence that we live in today, accessing the Web and receiving audio/video streams, we are no longer in synch with the “stuff ” of memory, and therefore memory is waiting to be reappropriated or reinvented, when the time comes. Renaissance master of the art of memory, Giulio Camillo (1480–1544). Hrvatin’s project is an extremely intelligent way of questioning the value of memory. In The Cabinet of Memories the visitor/ participant/memory retriever has the possibility to enter three rooms/boxes/ cabinets: those of Individual Memory, of Collective Memory, and, if nothing works out, the participant is asked to enter the Cabinet of Physiological Memory. In the Cabinet of Individual Memory, a celestial blue satin-covered room/box/ cabinet (1 x 1.2 x 2m big), there is only

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: May 1, 2002

There are no references for this article.