Gramáticas de la escucha. Aproximaciones filosóficas a la construcción de memoria histórica

Abstract

El artículo aborda la pregunta por la tarea de la memoria histórica en Colombia desde una perspectiva filosófica, concentrada en los retos epistemológicos y éticos derivados de la elaboración e implementación de iniciativas de memoria en contex- tos de experiencia traumática. Se busca presentar y analizar estos retos desde las consecuencias conceptuales que los contextos traumáticos le plantean a los procesos de elaboración de memoria y a la práctica de escucha de testimonios provenientes de experiencias traumáticas. Se examinan los modos para comprender, desde la filosofía, un aspecto de la tarea de la memoria que puede pasar desapercibido, con el propósito de imaginar e identificar cursos de acción y estrategias de escucha más responsables, inclusivas y plurales.

Grammars of Listening: Or On the Difficulty of Rendering Trauma Audible

“…My project wants to emphasize this latter side since it is mostly concerned with our ethical responsibility towards the kinds of harm left by trauma in the fabric of our worlda world we are all responsible for. (ii) Thus, in my project, this is translated into the possibility of imagining and offering what I call a 'radical form of listening', capable of tuning our ears to the silences, erasures, and fragmentary meanings produced by traumatic forms of violence and very often reproduced and intensified by the 'historical violence' of their forgetting (see Acosta López, 2018López, , 2019aLópez, , and 2019b This comes too with a philosophical and not a medical/ pathologizing approach to trauma. Traumatic violence needs to be understood in its deeply devastating effects, not only on survivors' lives but also on their worlds of perception and meaning.…”

“…This is due, on the one hand, to the unprecedented forms of violence to which they bear witness (forms of violence that many times are also directed towards destroying and controlling the means for their representation, see Acosta López, 2022a), and thus to the lack of available categories that can properly render intelligible (even audible) what is being conveyed. It is also due, on the other hand, to the fact that the form of experience struggling to communicate itself is one we are not accustomed to recognizing as experience, since it radically challenges the frameworks that allow us to make sense of a story in its telling (see also Acosta López, 2019b).…”

“…How much will the frameworks that structure our perception as well as our conceptual judgements about the world (epistemic and ethic alike) need to be revised – and perhaps even disrupted and produced anew – to allow for survivors to tell their stories, but also to allow us to truly listen to their testimonies? My project wants to emphasize this latter side since it is mostly concerned with our ethical responsibility towards the kinds of harm left by trauma in the fabric of our world – a world we are all responsible for. Thus, in my project, this is translated into the possibility of imagining and offering what I call a ‘radical form of listening’, capable of tuning our ears to the silences, erasures, and fragmentary meanings produced by traumatic forms of violence and very often reproduced and intensified by the ‘historical violence’ of their forgetting (see Acosta López, 2018, 2019a, and 2019b). This comes too with a philosophical and not a medical/pathologizing approach to trauma.…”

“…Thus, in my project, this is translated into the possibility of imagining and offering what I call a ‘radical form of listening’, capable of tuning our ears to the silences, erasures, and fragmentary meanings produced by traumatic forms of violence and very often reproduced and intensified by the ‘historical violence’ of their forgetting (see Acosta López, 2018, 2019a, and 2019b).…”

De la estética como crítica a las gramáticas de la escucha: resistencias estéticas frente a la violencia epistémica (autobiografía académica)

“…2002), que ha desempeñado un papel fundamental en la formulación de mi proyecto(cf. Acosta, 2017;2021c). También es central para mi proyecto, aparece arriba mencionado, el trabajo que estaban haciendo en el terreno todas las personas del CNMH con y de quienes tuve el honor de trabajar y aprender, y el tipo de conocimiento que las propias comunidades habían desarrollado en torno a sus propias iniciativas de memoria y reivindicaciones históricas (cf.…”