By Michael Pickering, Emily Keightley
This e-book explores how images and recorded tune act as autos or catalysts in tactics of remembering, and the way they're looked, taken care of, valued and drawn upon as assets connecting earlier and found in lifestyle. It does so through key ideas: vernacular reminiscence and the mnemonic mind's eye.
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This ebook explores how images and recorded song act as autos or catalysts in tactics of remembering, and the way they're looked, handled, valued and drawn upon as assets connecting prior and found in way of life. It does so through key ideas: vernacular reminiscence and the mnemonic mind's eye.
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Extra info for Photography, Music and Memory: Pieces of the Past in Everyday Life
This is the case not only with the memories associated with our own ﬁrst-hand, lived experience, but also with the relations between such experience and mediated or inherited second-hand experience. The mnemonic imagination is the active means by which we grasp these relations and allow them to inform each other, so enriching our understanding of broader processes of change and broader patterns of continuity. In devising the concept of mnemonic imagination in order to develop what we have called a sociological aesthetics of remembering, the intention is both to show the creative dimensions of memory and bring these into encounter with an ethics of remembering.
At the start of the research we gave a number of presentations to various community groups, again as a recruitment strategy; engaged in interviews on local radio programmes; wrote short pieces for local newspapers; and distributed our leaﬂet through various strategic channels and public places. g. attending to work and/or children). All our interviews were digitally recorded, and informants asked to sign an agreement about our subsequent use of the data. A key concern in conducting our interviews was that we developed a high degree of consistency in our overall approach, so ensuring that the resulting data was comparable in terms of response to our questioning and to our overall research aims and interests, but of course there is no ‘one size ﬁts all’ format for interviews about media and memory.
21 The implication here is not only that memory selects and sifts, blurring and distorting certain aspects of the past while highlighting others, but also that it has a much broader and richer scope than mechanical retention and retrieval, primarily because of its indispensable relation to that cumulative body of experience that is central to our sense of who we are and how we and others have changed. That body of experience, in turn, informs the ways in which we respond to a photograph or a popular song not simply for what has been retained.