S1E3 Constants

Marker, Chris: Zapping Zone (Proposals for an Imaginary television) (1994)

  • constellation
  • television
  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191007
  • Download image
MEMORY

Memory in Constants: Léthéia (2019)

  • amnesia
  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216

Memory in Constants: Léthéia, Zoom (2019)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216
  • Download image

Memory in Constants: Orthophoto, Léthéia (2019)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216
  • Download image

Domingez, Oscar; Arp, Jean; Taeuber-Arp, Sophie; Jean, Marcel: Cadavre Exquis (1937)

  • collage
  • game
  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191015
  • Download image

With the Cadavre Exquis we had at our disposal an infallible means of sending the mind’s critical mechanism away on vacation and fully releasing its metaphorical potentialities.

Breton, André: Surrealism and Painting (1928)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216

Memory - the faculty by which the mind stores and remembers information.

Oxford Dictionaries: Oxford Dictionaries (2019)

  • definition
  • memory
  • Uploaded by
    Fuchs Samuel, Köstler Sarah
  • Uploaded on
    190514

Souvenir

Subvenio, Latin (lat)

support, assist, come to the aid of, rescue

Etymologeek: Untitled (2019)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191007

In this sense, the brain contributes to the recall of the useful recollection, but still more to the provisional banishment of all the others.

Bergson, Henri: Matter and Memory (1896)

  • oblivion
  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191014

Klee, Paul: Angelus Novus (1920)

  • progress
  • past
  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191007
  • Download image

Dali, Salvador: Lobster Telephone (1936)

  • association
  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191007
  • Download image

MALRAUX, ANDRE: LE MUSEE IMAGINAIRE (1950)

  • Uploaded by
    Mendoza Diaz Rodrigo, Naroyan Arko, Uzun Ali
  • Uploaded on
    181218
  • Download image

Marker, Chris: La Jetée (1962)

  • superposition
  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191007
  • Download image

Memory is not like a private chamber within the individual consciousness but is more of a process of reconstruction: an activity of localization and configuration.

Marot, Sébastien: Sub-urbanism and the Art of Memory (2003)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216

KIRCHER, ATHANASIUS: ARS MAGNA LUCIS ET UMBRAE (1646)

  • Uploaded by
    Mendoza Diaz Rodrigo, Naroyan Arko, Uzun Ali
  • Uploaded on
    181218
  • Download image

In other words, it is from the present that comes the appeal to which memory responds, and it is from the sensori-motor elements of present action that a memory borrows the warmth which gives it life.

Bergson, Henry: Matter and Memory (1896)

  • memory
  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191007

H. Evans, Frederick: A Sea Of Steps (1903)

  • stairs
  • patina
  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191105
  • Download image

Preminger, Otto: Saint Joan (1957)

  • shortcut
  • simultaneity
  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191007
  • Download image

I carried to my lips a spoonful of the tea in which I had let soften a piece of Madeleine. But at the very instant when the mouthful of tea mixed with cake-crumbs touched my palate, I quivered, attentive to the extraordinary thing that was happening in me.

Proust, Marcel: In Search of Lost Time: Swann's Way (1913)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216

I will have spent my life trying to understand the function of remembering, which is not the opposite of forgetting, but rather its lining. We do not remember, we rewrite memory much as history is rewritten.

Marker, Chris: Sunless (1983)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216

They all journeyed to the Plain of Oblivion, there they camped at eventide by the River of Forgetfulness, whose waters no vessel can contain. They were all required to drink a measure of the water and each one as he drank forgot all things. And after they had fallen asleep, they were suddenly wafted thence, one this way, one that, upward to their birth like shooting stars.

Plato: Rpublic Book X (375)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216

Memory is contrasted not with forgetting but with the forgetting of forgetting. Memory is coextensive with forgetting.

Deleuze, Gilles: Foucault (1986)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216

We seem at times overwhelmed by the oceanic feeling of a limitless archive, of which the city is the most physical example and the "memory" of our computers is the most ethereal yet the most trusted, and at others afflicted by a fear that the material traces of the past might be swept away, taking memory with them.

Crinson, Mark: Urban Memory : History and Amnesia in the Modern City (2005)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216

Scott-Brown, Denise; Venturi, Robert: Learning from Las Vegas (1972)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216
  • Download image

Song, Aly: Nail House (2012)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216
  • Download image

Calvo, Marco Fabio: Le Regioni Auguste (1527)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216
  • Download image

When the memory of the primitive races began to be surcharged, when the load of tradition carried about by the human family grew so heavy and disordered that the word, naked and fleeting, ran danger of being lost by the way, they transcribed it on the ground by the most visible, the most lasting, and at the same time most natural means. They enclosed each tradition in a monument.

Hugo, Victor: This will kill that (1831)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216

Each time humans create an instrument after their own idea, the instrument in turn and in its own way reshapes the mentality of its creator.

Epstein, Jean: Le Cinéma du Diable (1947)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216

Parr, Martin: Souvenir (1991)

  • monument
  • acropolis
  • tourists
  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191014
  • Download image

Orson Welles: Citizen Kane (1941)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216
  • Download image

Passaic seems full of « holes » compared to New York City, which seems tightly packed and solid, and those holes in a sense are the monumental vacancies that define, without trying, the memory traces of an abandoned set of futures.

Smithson, Robert: The Monuments of Passaic (1967)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216

Smithson, Robert: The Monuments of Passaic (1967)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216
  • Download image

Natalini, Adolfo: Superstudio Sketchbook (1969)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216
  • Download image

Linke, Armin: Venetian Hotel, Las Vegas, Nevada (1999)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216
  • Download image

I suspect, nevertheless, that he was not very capable of thought. To think is to forget a difference, to generalize, to abstract. In the overly replete world of Funes there were nothing but details, almost contiguous details.

BORGES, JORGE LUIS: FUNES, THE MEMORIOUS (1942)

  • Uploaded by
    Mendoza Diaz Rodrigo, Naroyan Arko, Uzun Ali
  • Uploaded on
    181218
  • Download text

Memories are crafted by oblivion as the outline of the shore are created by the sea.

Marc Augé: Oblivion (1998)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191218

Mallarmé, Stéphane: Un coup de dés jamais n'abolira le hasard (1897)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216
  • Download image

Memories are like plants: there are those that need to be quickly eliminated in order to help the others burgeon, transform, flower.

Augé, Marc: Oblivion (2004)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216

Memory in Constants: Folded Paper (2019)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216
  • Download image

Alÿs, Francis: Fabiola (2011)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216
  • Download image

Koulechov, Lev: Koulechov Effect (1921)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216
  • Download image

Stezaker, John: Mask (2016)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216
  • Download image

Piranesi, Giovanni Battista: Icnographiam Campi Marti (1762)

  • monument
  • field
  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191007
  • Download image

An assemblage is a multiplicity which is made up of many heterogeneous terms and which establishes liaisons, relations between them across ages, sexes and reigns-different natures. Thus, the assemblage’s only unity is that of co-functioning; it is a symbiosis, a “sympathy”.

Deleuze, Gilles; Parnet, Claire: Dialogues (1977)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216

Arcimboldo, Guiseppe: Tête Réversible avec panier de Fruits (1590)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216
  • Download image

The future always looks good in the golden land, because no one remembers the past.

Sorkin, Michael: Exquisite Corpse, Writing on Buildings (1991)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216

Rossi, Aldo: Città Analoga (1976)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216
  • Download image

Henri, Michaux: Sans Titre (1962)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216
  • Download image

Steele-Perkins, Chris: Boy with Stone during Disturbance (1978)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216
  • Download image

Frielander, Lee: Hillfest (1978)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216
  • Download image

Steele-Perkins, Chris: The Pleasure Principle (1982)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216
  • Download image

BOSCH, HIERONYMUS: THE GARDEN OF EARTHLY DELIGHTS (1500)

  • Uploaded by
    Mendoza Diaz Rodrigo, Naroyan Arko, Uzun Ali
  • Uploaded on
    181218
  • Download image

Tarkovski, Andreï: Solaris (1972)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216
  • Download image

Any elements, no matter where they are taken from, can be used to make new combinations. The discovery of modern poetry regarding the analo- gical structure of images demonstrates that when two obejcts are brought together, no matter how far apart their original context may be, a relation is always formed.

Debord, Guy; Volman, Gil: A User's Guide to Detournement (1956)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216

I think the fragment is the only possible moment and the only possible place to understand.

Van Den Berghe, Jo: Manifesto (2019)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216

By what then are montage and its embryo -the frame- characterized? By collisions. By the conflict of two fragments placed side by side. By conflict. By collision.

Eisenstein, Sergei: Vertical Montage (1940)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216

Hatakeyama, Naoya: Untitled, Osaka (1998)

  • Uploaded by
    Büchi Laura, Pante Mathis, Reuse Charlotte
  • Uploaded on
    191216
  • Download image