The Memory of Photography

Bate, David

doi:10.1080/17540763.2010.499609

Cited by 53 publications

(6 citation statements)

References 2 publications

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“…Photography, through its creative powers of interpretation, synthesizes past memories and future desires to construct what Barros calls a "memory of the future" (2021, p. 155). To use David Bate's pithy phrase, the photograph becomes not a statement of the "what has been" but of "what will be" instead (Bate 2010).…”

Section: Anticipatory Nostalgia-archiving the Present Before It Has Gonementioning

confidence: 99%

“…The archive as a concept is inextricably linked to processes of identity construction and feelings of belonging (Schwartz and Cook 2002). By enabling groups to locate their identity in a shared visual memory, the archive confers a stabilizing influence on collective identity in the present (Bate 2010). It is also crucially tied to the concept of power.…”

Section: Archival Objects: Cultural Commemoration In Black and Whitementioning

confidence: 99%

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Missing the Present: Nostalgia and the Archival Impulse in Gentrification Photography

Price

2023

Arts

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If gentrification is a violent form of “un-homing” (Elliot-Cooper et al., p. 494), then it is no surprise to witness an intensification of photographic practice in gentrifying areas; photography is, after all, fundamentally a place-making practice. Taking “home” to include the wider neighborhood and urban environment (Blunt and Sheringham 2019), this paper argues that the concept of anticipatory nostalgia is a useful way of understanding the recent wave of black and white photography in gentrifying areas. As well as signifying a sense of loss, anticipatory nostalgia, defined as missing the present before it has gone (Batcho and Shikh 2016), can also be seen as an aesthetic strategy of documenting places before they are lost to gentrification. Using the works of Colby Deal (Beautiful, Still), Jules Renault (Suspended in Time), and Lorenzo Grifantini (W10) as case studies, this paper argues that this type of photography, which explicitly utilizes an archival aesthetic, invites spectators to interrogate the intimate ties between home, memory, and identity. While melancholic, these images serve as a call to action and a form of speculation about the future—rejecting the shiny, computer-generated aesthetics of gentrification for a humanized, often gritty, and authentic version of home.

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Section: Anticipatory Nostalgia-archiving the Present Before It Has Gonementioning

confidence: 99%

Section: Archival Objects: Cultural Commemoration In Black and Whitementioning

confidence: 99%

Missing the Present: Nostalgia and the Archival Impulse in Gentrification Photography

Price

2023

Arts

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“…While forgetting is an essential part of human memory [61] , literature addressing the relationship between possessions and memories rarely acknowledges its occurrence, instead highlighting the ways in which possessions are used to actively prevent forgetting [38] or misremembering [62] and at times must be disposed of as a means to facilitate intentional forgetting [47].…”

Section: Connection Type 3 (C3): Possessions Lose Memoriesmentioning

confidence: 99%

Possessions and memories

Hoven

Orth

Zijlema

2021

Current Opinion in Psychology

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People often acquire souvenirs and photographs to facilitate remembering, but possessions and memories can relate to each other in a variety of ways. This review paper presents four different connection types found between meaningful things in our everyday lives and our personal memories. Each connection type either focuses on possessions or memories and the connection between the two is either active or lost. These perspectives will be detailed through examples of studies and design cases from different fields and research areas. More studies have been found focusing on existing connections between possessions and memories, such as in human-computer interaction, design, material culture, psychology, and marketing, than those lost, which were specifically focused around ageing, forgetting, heirlooms, identity and hoarding behaviour. Our review of connections between possessions and memories accumulate to suggest the attachment people ascribe to certain possessions is mirrored by the ability of objects to fulfil people's desire to preserve, embody, showcase and recollect certain memories.

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“…Media itself forms the time bridge. Not only in photography, which is often theorised in terms of memory prosthesis (Bate, 2010) (Lury, 2013), but animation and live-action film as well.…”

Section: Hauntological Appropriationmentioning

confidence: 99%