On the Ways of Remembering the Present

Inga Levi, Day 313. January 2, 2023.

Golden sunset near my house. It's just beautiful in Kyiv today / Overnight, the Ukrainian Armed Forces destroyed all 39 Shahed UAVs launched by the Russians, two Orlan-59 drones and one X-59 guided missile

Who Decides?

“‘Collective memory’ has become an obsession,” claims Joanna Bourke in her introduction, “Remembering” War, for the Journal of Contemporary History in 2004.[1] She proceeds with compelling examples of how dominant power structures and “narratives of the winner” shape our understanding of the past. She immediately refers to the German historian Wulf Kansteiner, who argues that the construction of collective recollections is closely tied to political interests and opportunities, suppressing the organic development of historical narratives. This idea is hardly new and well-supported by evidence: many researchers and philosophers before Bourke and Kansteiner have highlighted the somewhat artificial nature of how societies remember. 

In response to doubts about the authenticity of such recollections, Michel Foucault introduced the concept of counter-memory in the early 1970s. Although he rarely used the term explicitly in his writings, Foucault engaged with the idea throughout much of his work. As the term suggests, counter-memory challenges the dominant versions of history promoted by institutions of power.[2] It aims to invert the power dynamics to amplify marginalised voices, enriching the overall narrative of past events. This approach has been applied and extensively discussed by numerous scholars, including Edward Said [3], Gayatri Chakravorty Spivak [4], Walter Benjamin [5], and many post-colonial thinkers. Questions about how societies engage with the past and its implications are central to much of the research on testimonial violence and contemporary systems of knowledge. 

“Ultimately, every historical occurrence can be examined through a genealogical lens. Rather than seeking a linear, objective account, it focuses on discontinuities, highlighting the experiences of those on the margins, personal narratives, and the relativity of values (for example, what may be acceptable in one context could be condemned in another)”

Neither Foucault nor others were the first to propose the notion of constructed narratives of the past. In 1887, after leaving his academic post due to poor health, which allowed him the freedom to criticise institutional and ideological dominance, Friedrich Nietzsche published On the Genealogy of Morality.[6] A unique historical context prompted the philosopher to challenge the established systems of values and those emerging. His well-known proclamation about the death of God reflected the cultural transformation Europe was undergoing, with the decline of the church's authority and the rise of scientific positivism, which Nietzsche also regarded as another form of dogmatism. In essence, the genealogical approach he suggests does not directly address the issues of collective memory. Still, it provides insight into how history and values are disseminated and upheld within society, and who has the power to shape them. 

Ultimately, every historical occurrence can be examined through a genealogical lens. Rather than seeking a linear, objective account, it focuses on discontinuities, highlighting the experiences of those on the margins, personal narratives, and the relativity of values (for example, what may be acceptable in one context could be condemned in another). This thinking profoundly influenced research on collective memory, institutional analysis, and power-knowledge dynamics. The genealogical approach is crucial in postcolonial studies, as it advocates for individualised historical accounts, exposing critiques of colonial power and contributing to the development of cultural identities. 

Personal VS Collective

The methods of constructing histories that form the foundation for collective memories remained relatively unchanged until the 19th century, when the profession of a historian emerged alongside the development of research methodologies for historical sources. The social, scientific, and industrial context in Europe, which influenced Friedrich Nietzsche’s ideas on narrative construction, contributed to the advancement of historiography. The pursuit of personal accounts of significant events like wars, revolutions, and times of profound transformation led to the discovery of diaries as a valuable and often uncontested historical resource. Though diaries have existed for centuries, not every private writing can serve as a historical document. 

Nella Last with her youngest son Clifford, Telegraph Media.

In addition to well-known diaries like Anne Frank’s, which offers a poignant view of Amsterdam during the Holocaust, there are other such accounts. For example, Nella Last, a British housewife who volunteered for the Mass Observation project [7], recorded a significant civilian perspective on World War II, shedding light on everyday life during wartime. While fundamentally personal, diaries present first-hand accounts that complement official historical records. As a unique source, diaries contribute to the formation of collective memory through a bottom-up approach. Rather than an institution compiling information for a narrative, it is the community that engages with a relatable source, either confirming shared experiences or debating their significance. In any case, this process fosters a dialogue around both the event and the source itself. 

It would be naïve to claim that the discovery of diaries (and other artefacts) as historical sources led to the disappearance of institutional narratives and power structures, though their role underwent significant transformation. Institutions were now expected to focus on organizing, maintaining, archiving, and preserving sources. However, the marginalised voices and histories did not experience an immediate victory. Institutional power to manipulate and conceal historical records remained strong. For instance, the Soviet Union classified the vast majority of documents until its dissolution. Thus, the search for alternative storytelling and relevant collective memories continued. 

“The vast expanse of cyberspace now contains an endless array of voices, both real and artificial, continuously narrating the present and shaping alternative sources of information and new ways of constructing both the present and past. Many social media platforms offer users a window into their previous activity, turning them into literal containers for memories. ”

The advent of globalisation and technology brought about the rise of social media (a blessing or a curse?). Initially, print media and television receded, unintentionally making room for a multitude of voices sharing both remarkable and trivial everyday stories. As media companies also migrated to social platforms, these became a kind of alternative reality, where news and historical narratives could be instantly spread across the globe. In this context, traditional “official” media continues to represent the same power structures that have historically suppressed subaltern voices, though not with malicious intent; they simply select what to tell. The vast expanse of cyberspace now contains an endless array of voices, both real and artificial, continuously narrating the present and shaping alternative sources of information and new ways of constructing both the present and past. Many social media platforms offer users a window into their previous activity, turning them into literal containers for memories. 

Remembering the Present

During wartime, social media serves as a platform for raising awareness, sending warnings, sharing messages of peace and hope, requesting help, and reflecting on the events. However, what is created in real-time cannot truly be called collective memory, as it pertains to ongoing events. These narratives belong to the realm of immediate memory, which has both physiological and philosophical dimensions. Neurologically, immediate memory is linked to the prefrontal cortex, responsible for short-term storage and processing. These memories are either transformed into long-term memories or fade away. Philosophically, immediate memory is closely connected to one's sense of self, suggesting a deep, intrinsic relationship between memory and identity. 

“We continue to rely on knowledge of recent events to connect them to the present and intuitively anticipate the near future. ”

One of the most comprehensive examinations of short-term (or immediate) memory is found in Edmund Husserl’s Phenomenology of Internal Time-Consciousness (1928), edited by Martin Heidegger. In this series of lectures, Husserl explores the central theme of his research: time consciousness. The key concept he introduces is retention, which describes how consciousness holds onto the immediate past as part of present experience, ensuring the seamless progression of time.[8] If we expand the scope of Husserl’s idea and extend the timeframe of immediate memory to span weeks or even years, the concept of retention remains relevant. We continue to rely on knowledge of recent events to connect them to the present and intuitively anticipate the near future. 

In this sense, social media functions as an archive of individual contributions, collectively forming the memory-based identity of a community enduring the traumatic experience of a violent war. Through engagement with both personal and collective memories, individuals may engage in conscious reflection on the event and the healing process. Although complete recovery may be unattainable during an ongoing humanitarian crisis, such interactions can contribute to the process of healing and provide a sense of continuity within the community’s shared experience. 

The archiving of events, stories, and experiences is essential not only for preserving community-driven narratives but also for documenting historical events. I am confident in asserting that almost anything can be archived in some form. 

The Russian invasion of Ukraine in February 2022 sparked a profound cultural shift and prompted a reevaluation of collective memory. In times of crisis, art, often focused on the human condition, receives a unique and unsettling prominence. Living through war, art adapts by responding to the reality of the situation, reflecting on the humanitarian impact, analyzing, predicting future events, or offering commentary. Artists have generously shared their work on social media, which has become a vital resource, leading to the creation of The Wartime Art Archive.[9] Launched on December 12, 2023, this digital platform, meticulously curated by Ukrainian cultural professionals, features a wide array of artists and exhibitions. 

Screenshot from the Archive’s web site.

The Archive is organized within a specific timeline: it begins with the onset of Russia's full-scale invasion of Ukraine on February 24, 2022, and will close when martial law in the country ends, though the end date remains uncertain. The works are arranged chronologically, each accompanied by its publication date. It is worth noting that the materials are sourced from open channels, minimizing curatorial influence and allowing artists to freely use their art as social commentary whenever and wherever they choose. 

Users can explore the Archive in various ways: scrolling through the endless page, filtering by thematic tags, or selecting based on geographical location. The platform features an abundance of materials, each accompanied by context regarding their historical significance. Every piece is thoroughly documented, including artist details, medium, size, and creation and publication dates. Tags are assigned based on curatorial analysis. 

Monthly view of the Archive.

The first year of the war is meticulously chronicled, using major events as markers in a manner akin to a diary, with clear and direct language. This approach to archiving emphasizes the importance of vernacular storytelling, as brought forward by the artists. The community engaging with and commenting on art through social media actively participates in constructing collective memory. 

The Wartime Art Archive represents a bottom-up approach to history, with minimal institutional interference. It presents raw material that is organized and preserved for future generations. The Archive team is currently processing a large volume of unpublished materials, which will be cataloged over time. 

[1] Bourke, J. (2004). Introduction “Remembering” War. Journal of Contemporary History, 39(4), 473–485. http://www.jstor.org/stable/4141406 

[2] Foucault, M. (1972). The archaeology of knowledge (A. M. Sheridan Smith, Trans.). Pantheon Books. (Original work published 1969) 

[3] Said, E. W. (1993). Culture and imperialism. Knopf. 

[4] Spivak, G. C. (1988). Can the subaltern speak? In C. Nelson & L. Grossberg (Eds.), Marxism and the interpretation of culture (pp. 271–313). University of Illinois Press. 

[5] Benjamin, W. (2003). Theses on the philosophy of history (H. Zohn, Trans.). In H. Arendt (Ed.), Walter Benjamin: Illuminations (pp. 253–264). Schocken Books. (Original work published 1940)

[6] Nietzsche, F. (1887). On the genealogy of morality (C. Diethe, Trans.). Cambridge University Press. (Original work published 1887)

[7] Mass Observation Archive. Mass Observation Archive. University of Sussex. Retrieved January 2, 2025, from https://massobs.org.uk/

[8] Husserl, E. (1964). Phenomenology of internal time-consciousness (J. B. Brough, Trans.). Indiana University Press. (Original work published 1928)

[9] Wartime Art Archive. (n.d.). Wartime Art Archive. Ukrainian Museum of Contemporary Art. Retrieved January 2, 2025, from https://waa.umca.art/en