Images of Power and the Power of Images 2022
DOI: 10.1515/9780857455154-002
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Introduction: Images of Power and the Power of Images

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“…But this does not necessarily mean museums and memorials are explicitly tools of ideological indoctrination or enforcement (though they certainly can be and often are). Álvaro Fernández Bravo (2005: 78) encourages an ambivalent reading that treats them as “theatres of memory,” which may reinforce certain “fables of collective identity” but are also “spaces where conflicting versions of identity compete, struggle, and attempt to attach historical meaning to material culture.” That is, exhibits often have tacit narrative sequences that can be read with a critical gaze toward tripartite relations between the state, its aesthetic, and beholding subjects (Fernández Bravo, 2005: 79–80; Kapferer, 2012). As Ryo Morimoto (2012: 7) wonderfully articulated it, the “waste” of disaster is:always consciously selected, first to preserve a version or versions of the past; second to retrieve the memory of an event in the present; and finally to project certain memories—certain mnemonic signals—onto the future, through a series of careful decisions made in the present.…”
Section: Collective Memory and The Fugitive Boundaries Of Nature/cult...mentioning
confidence: 99%
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“…But this does not necessarily mean museums and memorials are explicitly tools of ideological indoctrination or enforcement (though they certainly can be and often are). Álvaro Fernández Bravo (2005: 78) encourages an ambivalent reading that treats them as “theatres of memory,” which may reinforce certain “fables of collective identity” but are also “spaces where conflicting versions of identity compete, struggle, and attempt to attach historical meaning to material culture.” That is, exhibits often have tacit narrative sequences that can be read with a critical gaze toward tripartite relations between the state, its aesthetic, and beholding subjects (Fernández Bravo, 2005: 79–80; Kapferer, 2012). As Ryo Morimoto (2012: 7) wonderfully articulated it, the “waste” of disaster is:always consciously selected, first to preserve a version or versions of the past; second to retrieve the memory of an event in the present; and finally to project certain memories—certain mnemonic signals—onto the future, through a series of careful decisions made in the present.…”
Section: Collective Memory and The Fugitive Boundaries Of Nature/cult...mentioning
confidence: 99%
“…Although state assemblages remain central in the production of public works of art and architecture, beholding subjects can themselves be enrolled as actors in dramas that foster the development of more intimate bonds between people and the state (Kapferer, 2012). To bring this more fully into view, I borrow Keith Woodward’s (2014) notion of “state affects,” or the more unitary affective sensibilities of the state borne of an accumulation of encounters, and Didier Fassin’s (2008: 335) attention to the politics of suffering, by which he means the exhibition of pain and misfortune as merit.…”
Section: Spacetime Suffering Subjects and State Affectsmentioning
confidence: 99%
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