By Silke Arnold-de Simine (auth.)
Mediating reminiscence within the Museum is a contribution to an rising box of study that's positioned on the interface among reminiscence stories and museum reviews. It highlights the position of museums within the proliferation of the so-called reminiscence increase in addition to the impression of reminiscence discourses on foreign developments in museum cultures.
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Extra info for Mediating Memory in the Museum: Trauma, Empathy, Nostalgia
The German aesthetic term ‘Einfühlung’ (literally ‘feeling into’) was used by Robert Vischer (1873) and later promoted by Theodor Lipps to describe a response to art which invested objects with human feelings, bringing them to life. At this stage ‘Einfühlung’ was more a projection of people’s own feelings onto somebody or something else. In contrast, in late capitalist society empathy is perceived as a skill of reading somebody else’s feelings accurately and being able to genuinely feel for them.
Blade Runner is symptomatic of the fact that the cultural paradigm of memory has undergone a shift in recent decades: the act of remembering not only implies emotional investment and identiﬁcation, but also an element of actualization. In the Jewish tradition, the imperative ‘zakhor’ is not only the obligation to remember, it refers to a symbolic reenactment which can also be found in more mainstream forms of Media Frameworks of Remembering 33 relating to the past. Heritage sites develop more and more theatrical elements and encourage visitors to participate by dressing up in period costume or by trying their hand at traditional craftwork.
The resulting prosthetic memory has the ability to shape that person’s subjectivity and politics’ (Landsberg 2004: 2). While Eric Santner’s Stranded Objects (1990) describes how nations come to live with unassimilable pasts through the medium of cinema, Marianne Hirsch privileges photography as the medium by which traumatic memory is transmitted across generations. She also looks at how this adoption of memory is linked to locations and social institutions, such as the family or the museum. The mixed media situation of the family album is usually at the centre of a memory ritual in which the spatial arrangement of the photos and the performance of leaﬁng through the album trigger oral narratives.