Piece Of Memory Research Articles

WHAT SO DISTINCTIVE OF THE IBANS CULTURAL ARTEFACTS IN THEIR LONGHOUSES IN SARAWAK?

Prior to the establishment of a museum in Sarawak by the Brooke family in 1891, the Iban society preserved cultural objects in their longhouses using their own distinct methods. Traditional care is the foundation based on their beliefs and conceptions of the world's existence. This ethnography study examines the traditional conservation of Iban cultural relics in longhouses. Qualitative research technique, including fieldwork, documentation, and interviews was employed. Data collection was done based on the collection of pieces of informant memory. The findings indicate that the traditional management and maintenance of the Iban cultural artifacts is enchanting because it mixes parts of their beliefs, the mysticism and believing those cultural items would come to life and active so that they can be used in rituals and ceremonies. This research provides a new perspective on the cultural insight of an indigenous ethnic group the Ibans’ residing in the Borneo archipelago in with the anticipation that their identity known to the world and will be inherited for the new generations.

메모리얼 뮤지엄 건축과 전시 기법에 관한 연구 - ‘낯설게하기’와 뮤제오그래피의 표상 중심으로 -

This study is about representation of the memorial museum. Aleida Assmann explained that the memorial of the victim would be thought in the aspect of defamiliarization. Defamiliarization is the artistic technique of presenting to audiences common things in an unfamiliar or strange way. It considers concepts that can be analyzed representation of the memorial museum and be examined materialism also expression methods of the memorial museum with body perception. Results of the analysis, the exhibition space crosses boundary where the division between physical reality and absence of space reverses. This boundary includes traces of existence. Traces visualize the invisible existence and those are experienced through defamiliarization. Therefore, defamiliarization affords perceptual experience and allows open interpretation inside visitors. It tends to allow visitors to follow the meaning of traces and pieces of memory. The absence shown in the exhibition of the memorial museum reveals that it is not just a visual attribute. In conclusion, the exhibition methods of museum produce boundary and space with a ghostly character by material and non-material, visible and invisible. These methods attempt to express the loss of victims in artistic ways rather than showing past history or incidents. The concept of negative space has characterized the existence in both absence and presence beyond dichotomized museography and museology.

In Memory of Dr Lisa Lodwick

A memorial piece in honour of Dr Lisa Lodwick (1988–2022), the founder and first Editor-in-Chief of TRAJ. 

Memorial Piece for Honorary Member Professor Emeritus Kiyoshi Kawase

Memorial Piece for Honorary Member Professor Emeritus Kiyoshi Kawase

Permchecker: a toolchain for debugging memory managers with typestate

Dynamic memory managers are a crucial component of almost every modern software system. In addition to implementing efficient allocation and reclamation, memory managers provide the essential abstraction of memory as distinct objects, which underpins the properties of memory safety and type safety. Bugs in memory managers, while not common, are extremely hard to diagnose and fix. One reason is that their implementations often involve tricky pointer calculations, raw memory manipulation, and complex memory state invariants. While these properties are often documented, they are not specified in any precise, machine-checkable form. A second reason is that memory manager bugs can break the client application in bizarre ways that do not immediately implicate the memory manager at all. A third reason is that existing tools for debugging memory errors, such as Memcheck, cannot help because they rely on correct allocation and deallocation information to work. In this paper we present Permchecker, a tool designed specifically to detect and diagnose bugs in memory managers. The key idea in Permchecker is to make the expected structure of the heap explicit by associating typestates with each piece of memory. Typestate captures elements of both type (e.g., page, block, or cell) and state (e.g., allocated, free, or forwarded). Memory manager developers annotate their implementation with information about the expected typestates of memory and how heap operations change those typestates. At runtime, our system tracks the typestates and ensures that each memory access is consistent with the expected typestates. This technique detects errors quickly, before they corrupt the application or the memory manager itself, and it often provides accurate information about the reason for the error. The implementation of Permchecker uses a combination of compile-time annotation and instrumentation, and dynamic binary instrumentation (DBI). Because the overhead of DBI is fairly high, Permchecker is suitable for a testing and debugging setting and not for deployment. It works on a wide variety of existing systems, including explicit malloc/free memory managers and garbage collectors, such as those found in JikesRVM and OpenJDK. Since bugs in these systems are not numerous, we developed a testing methodology in which we automatically inject bugs into the code using bug patterns derived from real bugs. This technique allows us to test Permchecker on hundreds or thousands of buggy variants of the code. We find that Permchecker effectively detects and localizes errors in the vast majority of cases; without it, these bugs result in strange, incorrect behaviors usually long after the actual error occurs.

The Box, the Fish, and Lost Homes

The Partition of 1947 is a seminal episode in the history of the Indian subcontinent. Partition is still a living reality; it continues to define the everydayness of lives in the partitioned states. Memory is an important topic in the field of Partition Studies: the act of remembering and the subject of remembrance illuminate our understanding of Partition in more ways than one. Personal memories hold special significance in this regard. This article comprises two personal memory pieces on the cascading effects of Partition in individuals’ lives. The first story is a retelling of my grandmother’s experience of displacement and her subsequent relocation in newly formed India. The story brings forth memories associated with her wedding jewelry box, which she brought with her across the border. The second story focuses on the life experiences of my domestic helper, a second generation recipient of Partition memories.

Simon John Trussler: 11.06.1942 – 30.12.2019

ABSTRACTA memorial piece for our late colleague Professor Simon Trussler, editorial advisory board member, Emeritus Professor, Rose Bruford College of Theatre and Performance (UK).

Memorial Piece for Honorary Member Dr. Nobuo Aoki

Memorial Piece for Honorary Member Dr. Nobuo Aoki

Facts or Fables?

AbstractMuslim scholars maintain that the report of a text or event could be considered as indisputably true if it has been confirmed by the collective historical memory of the community throughout the ages and down the generations. Some suggested that if the authority of historical memory came into doubt, the entire edifice of religion and history would collapse as both were firmly based on historical memory. They were however aware of the possibility that an unconscious, spontaneous coordination of minds due to a shared feeling of a people might create a common assumption that turns a statement or event into a common knowledge for future generations and builds what we know as historical memory. They knew that stories are not fixed but can change over time, and that people might add additional material including their own interpretation of an event to their observation and thus form a collective memory that may have no truth embedded in it. They knew that the first hearing of an event or a report might influence the mind in such a way that the mind always remembered the event or report within that original understanding. So, how to prove that a piece of historical memory was really true and that it was not merely hearsay that people at the time happened to believe in, or wanted to believe in, and narrated to one another, passing it down from generation to generation? What is the line between fact and rumor and when does historical memory represent the truth, that is, the actual occurrence of an event or utterance of a statement? A number of requirements have been suggested in the Islamic tradition to narrow down the scope of error and increase the credibility of a piece of historical memory as representative of the actual occurrence of an alleged fact. This paper attempts to present those suggestions.

Migration Histories, National Memory, and Regional Collections

Migration Histories, National Memory, and Regional Collections

Vidyasagar in popular perception: Recovered through anecdotes

Ishwar Chandra Vidyasagar is one of the greatest figures of Bengal Renaissance, celebrated for his learning, promotion of education and pursuit of social reform. A number of anecdotes about him circulated among the middle class (Bhadralok) as well as the poorer sections of people. The article examines, through a selection of such anecdotes, what kinds of stories about Vidyasagar particularly caught the public eye, without delving into the accuracy of the specific pieces of public memory. What is significant here is that his personality, rather than his causes, forms the prominent theme in these anecdotes.

The public relations paradox of erasure: Damnatio memoriae as public relations strategy and tactic

Public relations scholars study how organizations co-create meaning with engaged stakeholders. Not well understood is how and why such co-creation modifies shared meaning, amplifies change, and even “erases” some piece of memory from the public record with the purpose of redirecting and redefining societal narratives. To help establish erasure as a concept for studying public relations, we draw from Freud’s theory of memory to establish a foundation upon which to critique strategic erasure. We adapt Freud’s theory of memory into the intersecting critique of visual rhetoric as public relations by analyzing, via narrative inquiry, remnants of Imperial Rome that have been modified, amplified, but even erased to present Rome’s modern identity. For centuries, even during Imperial Rome, leaders practiced damnatio memoriae —a modern Latin phrase that means “condemnation of memory.” We use this concept to interrogate the public relations identity process Rome’s leaders have used to modify for emphasis and even obliterate Roman elites’ names and images from the texts of public records by destroying, mutilating and modifying statues and monuments as a means for co-creating new public memory. Such analysis reveals how damnatio memoriae helps elites to redefine the “memory” of the Eternal City.

Windblown Ceremonies in Search of Vocalissimus: An Interview with Matt Barber on His Composition To the Roaring Wind

Windblown Ceremonies in Search of Vocalissimus: An Interview with Matt Barber on His Composition To the Roaring Wind Bart Eeckhout MATT BARBER is a composer, performer, and teacher who studied at the Juilliard School in New York and the University of Rochester’s Eastman School of Music. He plays the bassoon and the recorder, is a conductor with a repertoire ranging from Bach to Xenakis, and has taught composition and computer music courses at various institutions. In 2011, Matt published a 22-minute song cycle for soprano and percussion ensemble entitled To the Roaring Wind. Curious to find out more, we decided to get in touch with him in the context of this special issue. He embraced our suggestion of an interview, which was conducted by e-mail in the spring of 2019. To allow us to prepare for the conversation, Matt sent us the musical score as well as a weblink to a recording with scrolling score.1 For those readers who find score-gazing unhelpful or distracting, a stage recording of a 2011 performance, on the occasion of the work’s premiere, is also available online.2 Bart Eeckhout: Because the readers of this journal can’t be expected to be knowledgeable about contemporary composers, let’s start with a few questions about yourself. Your full name is Matthew Barber, but much of the time you seem to go by Matt Barber, also as a composer. Is this to avoid confusion with the Canadian singer-songwriter Matthew Barber or has this never been an issue? Matt Barber: Thank you for this opportunity to talk about my music. I waver on which version of my name to use professionally: I have preferred “Matt” since third grade or so, and nobody really calls me “Matthew” in conversation or correspondence. I did once get confused with the Canadian musician you mentioned; I taught for two years at Colgate University, and the students there, eager to find out more about me, found the singer-songwriter instead and were very confused when I walked in. Aside from that, there is a young amateur songwriter Matt Barber (from Iowa, I think) to whom friends occasionally compare me, and a conservative [End Page 152] firebrand Matt Barber whose name I regrettably hear in connection with rabid homophobia. B.E.: You went to Juilliard as an undergraduate, where one of your teachers was Milton Babbitt. Because Babbitt is such a towering figure in twentieth-century American music, can you tell us a few things about how you recall him and what impact he had on your formation as a composer? And how is this reflected in the piece for violin, piano, and computer you wrote as an In Memoriam for him in 2012? M.B.: This would take up the entire interview were I to answer in full detail. I started study with Milton at age seventeen, totally green and until then self-taught in the backwoods of Denver. (He had a joke about this: “You know the major problem with autodidacts, yes? They have such awful teachers!”) I was eager to learn anything and had an ear for twelve-tone music and other kinds of systematic music. What I remember most about him was his speech, which was so fluent and extemporaneous. You can get a feel for it by reading his writings: he spoke exactly the way he wrote, and when I read his writings I hear it in his voice. He called me “my dear boy,” and the year after John Elway retired, he joked that if I ever tired of composition I could go quarterback the Broncos. His guidance was intense, but not altogether methodical. He introduced me to a great deal of music I had been unaware of, and helped me learn how to think about it. The best advice I got from him was that whatever we call “form” in music is not some kind of vessel we pour content into, but both emerges from and controls content, and is content at various removes from the surface of the music. All of this went into my composition Call It What You Will, my memorial piece for him. It incorporates...

Today / Hoy by Juan Gelman

Srividya Sivakumar The Heart Is an Attic Kolkata. Hawakal. 2018. 88 pages. Blessed are the ones with attics in their homes. For an attic is a rare construct that serves as a repository of bits and pieces of memory, which in a hectic life are treated as redundant. For Srividya Sivakumar, “the heart is an attic” as the title goes, but it becomes a storehouse of not only memories but also the new and immediate. One of them is a tchotchke, a trinket, and she says, “Love is a Tchotchke.” As a Tamil and a cosmopolitan , she stashes the “three languages” that she can swear in. Or it could be “a poem that has sunk without a trace.” Or some hometown memories “in the brass memory chest in her mind” and in her attic. Or it could be the social stigma of not bearing children. Or they could be “fifteen of the forty-eight moles that map my body.” Strange contradictions exist in this magical attic. For every memory brings forth a nonmemory, too. Dichotomies work as love and nonlove, mother and nonmother, lover and nonlover, Tamil and non-Tamil, rural and nonrural. See this drama unfolding in the attic: “new love is sitting at the table next to me holding hands . . . old love is looking at newspaper and not speaking.” The attic here turns into a theater of conflict. Attic is where all rebellion happens. For example, picture this: “The first thing I did when you left me for good, was to cut my hair.” She is talking about pubic hair. Her body she describes as “Reclaimed land.” Whatever is reclaimed from the man, I presume, goes into the attic: “my body . . . my lips . . . my cunt . . . my heart . . . my writing . . . my life . . . my people.” Sivakumar is an unashamed recorder of Everywoman’s life but also excels as a confessor. She can jolt the reader with her direct and fleshy approach to love, but she is also the one to be found in the darkness of her attic mumbling confessions to herself. The attic is the confession chamber for her, and it exists in her heart. Ravi Shanker N. Palakkad, India Juan Gelman Today / Hoy Trans. Lisa Rose Bradford. Normal, Illinois. Co•im•press. 2018. 288 pages. Recipient of the Cervantes Prize, Juan Gelman is best known for his activism, passion, and the tragic death of his son and daughter-in-law during Argentina’s dictatorship of the 1970s. Gelman lived in exile, and much of his life’s work dealt with themes of protest, loss, love, nostalgia, and his Ukrainian Jewish heritage. He gained fame with center-justified, unpunctuated poems that resemble the human body, the language emulating the breathless, panting recovery from almost drowning. Today / Hoy is a surprising departure. Instead of resembling the living, suffering body, the 288 prose blocks consist of almost impenetrable juxtapositions. And yet, meanings blossom from the middle of the poems rather than from beginnings or endings. In CXXX, the “blossom” sentences appear in the middle: “That which is structured falls apart and only they take note. Ten different names for the rain filter through the clefts of a carnation.” Gelman addresses the nature of reality, perception, and language itself as they contribute to either an irreducible ambiguity or a liberated language that unleashes a multiplicity of possible meanings. Gelman does not group the work into themes, topics, or narratives. Instead, he allows juxtapositions to create their own order and disorder. CLXXX explores how a word “viaja en sus negaciones y desastres” (travels in its negations and disasters). CLCVI plumbs expressionless sorrow; LXXXIX tellingly evokes the disassociations of torture as it paints a surrealistic vision of a tree bursting into song, a person rinsing the tears that grew in her hands. World Literature in Review 86 WLT NOVEMBER–DECEMBER 2018 As a whole, the blocks construct an entire philosophy of being and knowledge. It would be interesting to reorganize the prose poems of Today / Hoy into categories and a structure that clearly delineates different ways of describing the interior metamorphoses of language and knowledge. However, that is not the way that they are arranged in this collection. You, the reader, can turn the...

The Narrative Function of Clothing in Elena Ferrante’s Troubling Love

Elena Ferrante’s first published novel Troubling Love deals with the dark side of the mother-daughter relation as no other of her works. The narration takes the form of a painful assembly of events, dealing with both rupture and continuity between the narrator Delia and the story’s protagonist, her mother Amalia. Essentially, Delia sews images together as they emerge from her visceral, rather than intellective or even imaginative revisiting of her childhood and adolescence. Amalia’s drowned body is progressively dressed by Delia’s pieces of memory, equivalent to clothing items that shape the narrative’s fabric. Part of the communication among different characters happens through exchange of clothes, fabric and lingerie, corresponding to their attempts to tailor Amalia’s narrative in the name of their troubled love, which comes in different patterns. Delia’s recollections of episodes of domestic violence, however, convey laceration and amorphousness, as she continuously stitches and makes adjustments, whereas no clothes or narratives can contain the true Amalia. This essay intends to highlight the path along which the narration’s thread runs. It explores the correspondences between the text’s form and content, and analyzes the narrator’s struggle to come to terms with a character whose very substance remains unreachable, encrypted in her old garments that have resisted violence, manipulation, and imposition of forms.

Conserved charges of the extended Bondi-Metzner-Sachs algebra

Isolated objects in asymptotically flat spacetimes in general relativity are characterized by their conserved charges associated with the Bondi-Metzner-Sachs (BMS) group. These charges include total energy, linear momentum, intrinsic angular momentum and center-of-mass location, and, in addition, an infinite number of supermomentum charges associated with supertranslations. Recently, it has been suggested that the BMS symmetry algebra should be enlarged to include an infinite number of additional symmetries known as superrotations. We show that the corresponding charges are finite and well defined, and can be divided into electric parity "super center-of-mass" charges and magnetic parity "superspin" charges. The supermomentum charges are associated with ordinary gravitational-wave memory, and the super center-of-mass charges are associated with total (ordinary plus null) gravitational-wave memory, in the terminology of Bieri and Garfinkle. Superspin charges are associated with the ordinary piece of spin memory. Some of these charges can give rise to black-hole hair, as described by Strominger and Zhiboedov. We clarify how this hair evades the no-hair theorems.

Into the Spotlight: New Writing from Slovakia by Magdalena Mullek & Julia Sherwood

Into the Spotlight: New Writing from Slovakia. Ed. Magdalena Mullek & Julia Sherwood. Trans Magdalena Mullek, Julia Sherwood & Peter Sherwood. Bloomington, Indiana. Slavica / Three String Books. 2017. 185 pages. The translators of Into the Spotlight have set out to expand the body of contemporary Slovak fiction available in English, with a focus on the least-translated of living writers. The volume is premised on the diversity of such authors, and this is reflected in terms of generation and gender as well as of style and form; readers will find both short stories and excerpts from novels. Indeed, the translators have taken a risk in that nearly half of the selections are excerpts. Their gamble certainly pays dividends , however, as these fragments stand alone as powerful character studies that also provide a glimpse into the style and intellectual world of the respective authors. In staking a claim for Slovak writers on the center stage of world literature, Into the Spotlight demonstrates the global orientation of contemporary Slovak literature . Most striking in this regard are a pair of perplexing short stories set in Africa. Their author, Marek Vadas, draws on his experiences in equatorial Africa, acting as a cultural interpreter whose stated goal is to transmit the “African way of thinking.” Other selections that fit the rubric of “globalization ” interrogate Slovakia’s transition to capitalism and probe the underside of European integration. ”The First Victory of Superstores,” by Michal Hvorecký, stands out as a ruthlessly satirical study of an architect-cum-marketing guru who has staked his reputation on building superstores in which shoppers can be seen “crying from happiness. They had understood they really could buy everything in this superstore, and they weren’t able to resist buying the displayed merchandise.” Ultimately, the reader is left with a bittersweet knowledge that a large portion of these writers’ work will not appear in English translation. At the same the volume offers hope that we will be reading more from these and other translators of Slovak. And for the time being, Into the Spotlight offers no small consolation in its delightful array of human portraits from Central Europe. Duncan Lien Pennsylvania State University Klaus Böldl. Der Atem der Vögel. Frankfurt am Main. S. Fischer. 2017. 139 pages. In Klaus Böldl’s latest novel, Der Atem der Vögel, the narrator, Philipp, came to the Faroe Islands in the North Atlantic between Scotland and Iceland two years ago, prior to the story’s beginning, to restore medieval church furniture. This windswept archipelago is characterized by endless horizons , impressive natural spectacles, a harsh climate with constantly changing weather, colorful houses with grass-covered roofs, rainbows, countless sheep, and far fewer human beings. Early on, Philipp meets the local pediatrician, Johanna, and her daughter , Rannva, decides to stay with them but now sees their relationship on a downward slope. While his girlfriend and her daughter are away visiting relatives in Denmark, Philipp passes time on endless walks with a mind keen on minute observations and fragmented memory pieces reminiscent of the ocean’s vast expanse. Although lacking in plot and dramatic twists, Böldl’s prose in Der Atem der Vögel is captivating, with its hypnotically quiet and meditative narrative stream. As in a dream, the Faroe landscape and the memories of Philipp’s childhood—especially of his best friend, Simon, who vanished without a trace at the age of fifteen—blend together and seem to be the ingredients of a longing for his own disappearance. Aimlessly , Philipp passes the days with forays into the Faroe Islands’ small capital as well as hikes on rugged dirt tracks and lonesome roads, through river valleys and quiet moors. Where does this path into the Never end? Böldl’s oeuvre is populated with characters like Lennart (Der nächtliche Lehrer), Johannes (Studie in Kristallbildung), Harald World Literature in Review 82 WLT NOVEMBER–DECEMBER 2017 ...

Juan Gelman: Wording the Silence

Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsLisa Rose Bradford As a follow-up to the selection of Juan Gelman's poems in Review 88, this memorial piece by translator Lisa Bradford focuses on her experience of working with the late Argentine poet. Gelman (1930-2014) was born in Buenos Aires, the son of Jewish Ukrainian parents, and grew up amid many languages, acquiring a fascination for words early in life. Between 1956 and 2013, more than twenty books of his poetry were published. His awards included the Juan Rulfo Prize (2000), the Queen Sofía Prize (2005), and the Cervantes Prize (2007). Poet, journalist, and translator, he passed away in Mexico City, where he lived for the last two decades. Lisa Rose Bradford has published three book-length translations of Gelman's verse; Between Words: Juan Gelman's Public Letter (reviewed in Review 85) received the 2011 National Translation Award from the American Literary Translators Association. Her poems and translations have appeared in numerous magazines. She currently teaches comparative literature at the Universidad Nacional de Mar del Plata, Argentina.

From Confession to Corporate Memory: the Memoirs of CIA Director Richard M. Helms

This article seeks to challenge the orthodoxy about memoirs by retired spies. It does so by examining the making of A Look Over My Shoulder, the 2003 memoir of Richard Helms, the second longest serving Central Intelligence Agency (CIA) Director. An exploration of the genesis of the Helms memoir is revealing of the motivations for autobiographical writing by intelligence veterans, as well as the procedures for the ‘vetting’ of texts by the CIA's Publications Review Board. In a departure from the existing literature on the subject of official memoir-writing, which suggests that secret organisations are hostile to former employees producing books, it is shown that the CIA did not hinder Helms, but assisted him. Drawing upon declassified materials and private papers, it is argued that the Agency aimed to mould the book as a quasi-official history for the purpose of improving public understanding about the CIA, intelligence, and US foreign policy. With journalists, renegade writers, and populist historians producing sensationalist and lopsided accounts, the CIA realised that there was more to gain by contributing to history than to remain silent while it was being compiled. To this end, they worked with Helms in turning a confessional into a piece of corporate memory.

Optimizing two-dimensional DMA transfers for scratchpad Based MPSoCs platforms

Reducing the effects of off-chip memory access latency is a key factor in exploiting efficiently embedded multi-core platforms. We consider architectures that admit a multi-core computation fabric, having its own fast and small memory to which the data blocks to be processed are fetched from external memory using a DMA (direct memory access) engine, employing a double- or multiple-buffering scheme to avoid processor idling. In this paper we focus on application programs that process two-dimensional data arrays and we determine automatically the size and shape of the portions of the data array which are subject to a single DMA call, based on hardware and applications parameters. When the computation on different array elements are completely independent, the asymmetry of memory structure leads always to prefer one-dimensional horizontal pieces of memory, while when the computation of a data element shares some data with its neighbors, there is a pressure for more “square” shapes to reduce the amount of redundant data transfers. We provide an analytic model for this optimization problem and validate our results by running a mean filter application on the Cell simulator.