Search Results (5)

This article examines memory and monuments in the science fiction Star Trek franchise as a lens for understanding commemoration technologies and how futuristic visions of memorials anticipated real ones, especially during times of conflict. To understand the cultural reciprocity of sci-fi television and contemporary commemoration of war and trauma, we investigate the interactive website produced by the Israeli Public Broadcasting Corporation, Kan, titled Kan 7.10.360, which commemorates the victims of the 7 October 2023 Hamas massacre of civilians, soldiers, and policemen in Israel’s Gaza Envelope region. The 7.10.360 website employs advanced technologies to create what we identify as a digital “counter-monument.” By applying the concept of metamemorial science fiction relating to the Shoah, investigating its victims’ commemoration and examining the globital turn in memory work, we demonstrate that the Kan project realizes digital mnemonic practices engaged in Star Trek. We argue that the renowned series performs and anticipates three aspects of globital memory work and novel digital commemoration, also prevalent in the Kan 7.10.360 website: the personalization of memory using images; televisual testimony or documentation that mediates personal experience; and the display of objects that symbolize quotidian aspects of the victims’ lives. Full article

What do images ask of the future, and what promises do we owe them? Reading Agnès Varda’s Mur Murs and Visages Villages with Derrida’s archive and de Certeau’s city-writing in mind, I treat Varda’s walls as contested palimpsests. Film overwrites and counter-inscribes surfaces, yet it keeps undertexts legible. I set aside Michael Cramer’s divide between community murals and externally authored photomurals; rather than framing them as opposed projects, the films share one practice: collective inscription, archival method, shifting temporal sense. In Mur Murs, Varda’s camera lets living people eclipse their monumental doubles and turns trompe-l’œil and hushed voices into layers of the palimpsest that refuse closure. In Visages Villages, the larger-than-life portrait of the last remaining inhabitant of a former mining town and the colossal figures of dockworkers’ wives recenter overlooked lives while keeping their impermanence in view. Across both films, cinema becomes the archivable surface: framing, montage, and projection “write” the wall, preserving disappearance even as each screening adds a new layer. Varda practices a careful ethics of remembering that remains future-facing, aware of institutions, and shaped by reality, yet always keeping the walls of stucco, metal, glass, and rock open to re-reading and re-inscription. Full article

At the intersection of memory and feminist studies, this article examines the issue of suffrage and feminist monumental commemoration in the United States. Starting from the deficit of statues representing female historical figures in the public space, it analyzes the conception and reception of two important monuments honoring women’s suffrage (Portrait Monument 1921 and the Women’s Rights Pioneers Monument 2020). While those monuments have somewhat broken the “bronze ceiling”, they testify to the mechanics of exclusion and inclusion at work both in the construction of history and memory. Then, the article takes on a broader perspective, questioning the extent to which traditional monuments, as products of a patriarchal culture and memory, can properly commemorate modern feminism. The essay identifies two trends, one consisting of transforming the bronze through various strategies, the other of “breaking the bronze” by replacing it with other materials and proposing new memory frameworks belonging to what James E. Young has labeled countermonuments. Still, the article ultimately questions the limits of the monument itself and points to the notion of interactive spaces as perhaps the most adequate sites of memory for the complex, multifaceted, contested, and contemporary movement that feminism(s) stand(s) for. Full article

During the last decades, archaeological site looting throughout Iraq has increased significantly up to a point where some of the most famous and relevant ancient Mesopotamian cities are currently threatened in their integrity. Several important archaeological monuments and artifacts have been destroyed, due to ISIL attacks and associated looting. Since 2016, the policies of the European Union have been increasingly harsh to condemn these atrocious acts of destruction. In such a scenario, the European Union Satellite Centre can be an invaluable instrument for the identification and assessment of the damage in areas occupied by ISIL. A detailed view of the damage suffered by the Nineveh and Nebi Yunus ancient sites, in Iraq, was assessed via visual inspection. The analysis was conducted considering the main events that occurred in the city of Mosul, between November 2013 and March 2018. More than 25 satellite images, new acquisitions and archived, supported by collateral data, allowed the detection and classification of the damage occurred over time. A description of the methodology and the classification of category and type of damage is presented. The results of the analysis confirm the dramatic levels of destruction that these two ancient sites have been suffering since 2013. The analysis reported in this paper is part of a wider study that the SatCen conducted in cooperation with the EU Counter-Terrorism Office and PRISM Office. The whole activity aimed at confirming to EU institutions the massive looting and trafficking operated in the area. The results have been provided to archaeologists in the field as well in support of local authorities who are trying to evaluate the current situation in the area. Full article

We report on some recent experiences of scientific dissemination activities on geomaterials carried out by a network of scientific organizations in Tuscany (Italy). The primary message we want to disseminate is that even the most “insignificant” rock (e.g., those constituting the bar or kitchen counter-tops) stores in their interior very useful information beyond the beautiful colors and their aesthetic appearance. These rocks can tell stories of very old geological periods on how they were formed. Their structures, texture and shape, as well as their chemistry and mineralogy provide clues to the reconstruction of geological events. Moreover, the rocks used in urban architecture and monuments are an inexhaustible archive containing a lot of historical and economic information on the development of a city and its surrounding area. The role of geologists, in this context, is to provide to the public, in clear and engaging language, the tools necessary to solve the puzzle (i.e., identify the most important types of rocks and rock-forming minerals, know their physico-chemical properties, their textures and structures and discover the environments in which they formed). A specific objective of this work is to stimulate an exchange between various research organizations (universities, public research institutions, museums, associations, etc.) and the civil society. Full article