In the movie, Memento, the hero, Leonard, suffers from a form of anterograde amnesia that results in an inability to lay down new memories. Nonetheless, he sets out on a quest to find his wife’s killer, aided by the use of notes, annotated polaroids, and (for the most important pieces of information obtained) body tattoos. Using these resources he attempts to build up a stock of new beliefs and to thus piece together the puzzle of his wife’s death. At (...) one point in the movie, a character exasperated by Leonard’s lack of biological recall, shouts. (shrink)

The centrality of the embodiment of mind, self, and values for the later Nietzsche is widely acknowledged. Here, I reconstrue Nietzsche’s HL to show that he uses his drive model of the mind already in this early text. The “historical sickness” central to HL is diagnosed in the form of failures of embodiment and drive control. First, I argue that a precursor to Nietzsche’s figure of “the last human” is already the target in HL. Second, I offer working definitions for (...) terms such as “drives,” “affects,” and “values,” which are crucial to Nietzsche’s heuristic diagnostic framework. I then focus on the neglected passage that contrasts the medieval memento mori with a modern memento vivere, showing that the former functions as an embodied mechanism of willing and self-control, which Nietzsche claims the moderns have been unsuccessful in replacing. Finally, I draw on recent research in embodied cognition and identify two causes—“overload” and “semantic embodiment”— of the modern “historical sickness” that undermines flourishing. (shrink)

Der Autor interpretiert Nicolas Poussins Gemälde »Et in Arcadia ego« (1638–1640) mit der Inschrift »Auch in Arkadien gibt es mich, den Tod« als Darstellung eines Erkenntnisprozesses und schlägt vor, das zuvor moralisch verstandene »Memento mori« als Aufforderung zur Selbsterkenntnis zu begreifen. Damit formuliert er eine Gegenposition zum Programm des »Transhumanismus«, der die Abschaffung des Todes anstrebt. Sodann geht er von Freuds Hinweis auf die Verleugnung des je eigenen Todes aus und interpretiert die Struktur dieser Einstellung mit Freuds spätem Begriff (...) der »Ichspaltung«. Dabei zeigt sich, dass die mit der Ichspaltung verbundene Allmachtsphantasie auf Verleugnung statt auf Anerkennung von Unverfügbarkeit abzielt, deren Repräsentant der Tod ist. »Memento mori« wird so zu einer emotional erkennenden Erfahrung von Unverfügbarkeit als zentralem Aspekt der Conditio humana. (shrink)

In the movie, Memento, the hero, Leonard, suffers from a form of anterograde amnesia that results in an inability to lay down new memories. Nonetheless, he sets out on a quest to find his wife’s killer, aided by the use of notes, annotated polaroids, and body tattoos. Using these resources he attempts to build up a stock of new beliefs and to thus piece together the puzzle of his wife’s death. At one point in the movie, a character exasperated (...) by Leonard’s lack of biological recall, shouts: “YOU know? What do YOU know. YOU don’t know anything. In 10 minutes time YOU won’t even know you had this conversation” Leonard, however, believes that he does, day by day, come to know new things. But only courtesy of those photos, tattoos, tricks and ploys. Who is right?These are the kinds of question addressed at length in the paper ‘The Extended Mind’. Is the mind contained in the head? Or does the notion of thought allow mental processes to inhere in extended systems of body, brain and aspects of the local environment? The answer, we claimed, was that mental states, including states of believing, could be grounded in physical traces that remained firmly outside the head. As long as a few simple conditions were met, Leonard’s notes and tattoos could indeed count as new additions to his store of long-term knowledge and dispositional belief. In the present treatment I revisit this argument, defending our strong conclusion against a variety of subsequent observations and objections. In particular, I look at objections that rely on a contrast between the intrinsic content of neural symbols and the merely derived content of external inscriptions, at objections concerning the demarcation of scientific domains via natural kinds, and at objections concerning the ultimate locus of agentive control and the nature of perception versus introspection. I also mention a possible alternative interpretation of the argument as a reductio of the very idea of the mind as an object of scientific study. This is an interesting proposal. (shrink)

Within a short space of time, the film Memento has already been hailed as a modern classic. Memorably narrated in reverse, from the perspective of Leonard Shelby, the film’s central character, it follows Leonard’s chaotic and visceral quest to discover the identity of his wife’s killer and avenge her murder, despite his inability to form new long-term memories. This is the first book to explore and address the myriad philosophical questions raised by the film, concerning personal identity, free will, (...) memory, knowledge, and action. It also explores problems in aesthetics raised by the film through its narrative structure, ontology, and genre. Beginning with a helpful introduction that places the film in context and maps out its complex structure, specially commissioned chapters examine the following topics: memory, emotion, and self-consciousness agency, free will, and responsibility personal identity narrative and popular cinema the film genre of neo-noir Memento and multimedia Including annotated further reading at the end of each chapter, Memento is essential reading for students interested in philosophy and film studies. (shrink)

Exemplified especially by Heidegger and Levinas, the phenomenology of death expresses first, the impossibility of the death experience, second, the authenticity of Dasein starting from the horizon opened by the possibility of death, and third, the relevance of the death of the other to the discovery of one’s own death. This article tries to take a step further, showing the link between the authenticity of Dasein and the desire for immortality manifested in this authenticity. By overturning Heidegger’s theses and by (...) affirming both the necessity of an authentication of death itself—in accord with Socrates’s death example—and the legitimacy of the meditation on death, this text links the need for immortality, which is phenomenologically visible, with the Christian faith in the resurrection, which is visible only for theology. (shrink)

I want to consider some features of the position put forward by Julian Barbour in The End of Time that seem to me of particular philosophical interest. At the level of generality at which I'll be concerned with it, the view is relatively easy to describe. It can be arrived at by thinking of time as decomposing in some natural way linearly ordered atomic parts, ‘moments’, and combining an observation about the internal structure of moments with an epistemological doctrine about (...) our access to the past. The epistemological doctrine, which I'll call ‘Presentism’, following Butterfield, is the view that our access to the past is mediated by records, or local representations, of it. The observation is that the state of the world at any moment has the structure of what Barbour calls a ‘time capsule’, which is to say that it constitutes a partial record of its past, it is pregnant with interrelated mutually consistent representations of its own history. (shrink)

Nos encontramos no momento atual, marcados por uma ideia de doença, iminência da morte e isolamento. Assim, nesse ensaio faz-se repensar sobre as imagens subjetivas do vazio, da melancolia e da solidão no sujeito. No processo de Memento Mori ou Lembra-te que Morrerás busca-se uma imagética do suicídio, do rastro da vida, do “após a vida”, que também termina por nos revelar, a impossibilidade de experienciar a própria morte.ORCIDhttps://orcid.org/0000-0003-3274-2036.

La 4e de couverture indique : "Michel Henry - bien que considéré comme un penseur de la "vie" et des "vivants" - n'a cessé de méditer le fameux memento mori, marque insigne de la destinée de la philosophie. Comme philosophe de la subjectivité, il a identifié la vie à "ce qui ne peut pas mourir", rompant ainsi avec ce qu'il y avait de moribond dans l'onto-thanatologie heideggérienne d'Être et Temps. Cet ouvrage élucide et interprète ces rapports entre la vie (...) et la mort, l'être et le temps. Mais il pose une question de fond : en pensant la vie comme auto-révélation et auto-affection, Michel Henry n'aurait-il pas, de façon idéaliste, esquivé le phénomène incontestable et brutal de la mort, voire barré, par principe, une humaine intelligibilité de ce dernier? En interrogeant l'élaboration henryenne des tensions conceptuelles entre une sotériologie rigoureusement philosophique et les paradoxes de l'eschatologie religieuse, le livre montre les enjeux mais aussi les faiblesses - ou les oublis - de la phénoménologie henryenne quand elle doit bien faire face à la mort.". (shrink)

During Advent we prayerfully consider how Jesus was born to save us from death through his incarnation, death, and resurrection. Remembering this in light of your own death can change your life. Mememto mori or "remember your death" is a phrase long associated with the practice of remembering the unpredictable and inevitable end of one's life. This book is the latest in a series of books by Sr. Theresa Alethia Noble, FSP, that explores the traditional Christian practice of meditation on (...) death in light of Christ. This book will help you to connsider the four Last Things: death, judgment, hell, and heaven in the context of Advent. -- Adapted from back cover. (shrink)

It is a common lament that people, the young especially, are increasingly shyingaway from books and instead turning for intellectual sustenance to video games, film, andtelevision - that is, images are displacing words, with the result that the culture isbecoming less tolerant of cognitive complexity .1Instead of vainly tryingto reform, or negate the influence of, popular entertainments, it might be better toembrace them, making selective use of them to cultivate an interest in philosophic topicsamong young minds. Perhaps we can lead (...) them to the words of the great philosophic textsby showing them how some of the actions and dialogues portrayed in the images theyavidly consume exemplify and explore themes, concepts, and arguments otherwise dealtwith by the likes of Plato, Descartes, and Hume. Guided by this pedagogical hope, thispaper aims to plumb the philosophic significance of Memento. (shrink)

Christopher Nolan’s Memento illustrates and explores two roles that memory plays in human life. The film’s protagonist, Leonard Shelby, cannot ‘make new memories’. He copes by using a ‘system’ of polaroids, tatoos, charts and notes that substitutes for memory in its first role, the retention of information. In particular, the system is supposed to help Leonard carry out his sole goal: to find and kill his wife’s murderer. In this it proves a disastrous failure. But are we so very (...) much better off? The film uses the failures of Leonard’s system to raise doubts about the effectiveness of our own psychological capacities for grasping the past. However, memory does more than allow us to retain information. As Richard Wollheim showed, it also enables the past to control our present, by perpetuating, while modifying, its affective hold over us. This is something wholly denied Leonard. By implicitly contrasting his position with ours in this respect, the film also explores this second role that memory plays in our lives. (shrink)

De mi padre recuerdo que solía decir: “No deseo que llegue el día de los grandes elogios, pues sé que, entonces, no los necesitaré”. Mi padre, a su modo, tenía esa veta estoica que recorre el sentir de los pueblos costeños, hechos de una sabiduría que se ha forjado en las faenas de la mar y cuyo talante les aprovisiona de una resignada actitud ante la vida y la muerte. Pensando en ello, he de reconocer que mi querido amigo Jairo (...) Escobar ya no precisa de mis elogios. Si acaso, como suele suceder, soy de los que ha de detenerse a preguntar: ¿Por qué soy deudo suyo? (shrink)

In _Death in Documentaries: The Memento Mori Experience_, Benjamin Bennett-Carpenter suggests that documentaries are an especially apt form of contemporary _memento mori_; that is, documentaries offer transformative experiences for a viewer to renew one’s consciousness of mortality.

The movie Memento (2000) broaches several interrelated philosophical questions concerning human knowledge, personal identity, and the human search for meaning. For example, is our knowledge based mainly on conclusions reached through our own reason, or is it based instead on habituation and conditioning brought about by forces outside of us? What is the role that memory plays in our knowledge? Furthermore, what is the relationship between memory and personal identity? And what is the relationship between memory, personal identity, and (...) the human search for meaning? Can one meaningfully pursue projects in life that one has not chosen for oneself? While Memento does not resolve all of these issues, it does suggest some provocative answers that are bound to make us think differently about human knowledge, personal identity, and the meaning of life. (shrink)

In einer gesteigerten Form der Memento-mori-Dichtung des Barock wurde die menschliche Sterblichkeit durch den Einsatz performativer Strategien für die Zeitgenoss*innen bereits zu Lebzeiten erfahrbar. So waren mahnende und tröstende Tote, die scheinbar direkt aus dem Jenseits zu den Lebenden sprechen, in Begräbnisgedichten und Grabinschriften allgegenwärtig. Ebenso waren Gedichte und Sterbelieder verbreitet, in denen der Sterbeakt performativ durchlebt werden konnte. In der Gegenwart, die sich nach Norbert Elias durch eine Verdrängung der menschlichen Vergänglichkeit zugunsten von Unsterblichkeitsphantasien, und somit einer Vermeidung (...) von Erfahrungen mit der Vergänglichkeit, auszeichnet, gestalten einige deutschsprachige Lyriker*innen moderne Variationen dieses gesteigerten memento mori. In den untersuchten Gedichten von Özlem Özgül Dündar und Günter Kunert werden durch performative Verfahren Konfrontationen mit der eigenen Endlichkeit inszeniert, welche als moderne, säkulare Vergänglichkeitsmahnungen verstanden werden können. (shrink)

In einer gesteigerten Form der Memento-mori-Dichtung des Barock wurde die menschliche Sterblichkeit durch den Einsatz performativer Strategien für die Zeitgenoss*innen bereits zu Lebzeiten erfahrbar. So waren mahnende und tröstende Tote, die scheinbar direkt aus dem Jenseits zu den Lebenden sprechen, in Begräbnisgedichten und Grabinschriften allgegenwärtig. Ebenso waren Gedichte und Sterbelieder verbreitet, in denen der Sterbeakt performativ durchlebt werden konnte. In der Gegenwart, die sich nach Norbert Elias durch eine Verdrängung der menschlichen Vergänglichkeit zugunsten von Unsterblichkeitsphantasien, und somit einer Vermeidung (...) von Erfahrungen mit der Vergänglichkeit, auszeichnet, gestalten einige deutschsprachige Lyriker*innen moderne Variationen dieses gesteigerten memento mori. In den untersuchten Gedichten von Özlem Özgül Dündar und Günter Kunert werden durch performative Verfahren Konfrontationen mit der eigenen Endlichkeit inszeniert, welche als moderne, säkulare Vergänglichkeitsmahnungen verstanden werden können. (shrink)

This article demonstrates that Memento (Christopher Nolan, 2000) meets both conditions of Paisley Livingston's bold thesis of cinema as philosophy. I delineate my argument in terms of Aaron Smuts's clarifications of Livingston's conditions. The results condition, which is concerned with the nature of the philosophical content, is developed in relation to Berys Gaut's conception of narrational confirmation, which I designate ‘experiential affirmation.’ Because experiential affirmation is a function of cinematic depiction, it meets Livingston's means condition, which is concerned with (...) the capacities of the medium or art form. I address two objections to my argument and conclude with a brief commentary on the implications for the broader relationship between film and philosophy. (shrink)

In this paper, I compare John Locke’s “memory theory” of personal identity and Memento. I argue that the plot of Memento is ambiguous, in that the main character seems to have two histories. As such, Memento is but a series of puzzle cases that intend to illustrate that, although our memories may not be chronologically related to one another, and may even be fused with the memories of other persons, those memories still constitute personal identity. Just as (...) Derek Parfit argues, perhaps there is no personal identity as such, since only survival matters to us. In Memento, Leonard Shelby is not identity to his former self, but survives to some extent. (shrink)

I argue that Before Sunrise, Before Sunset, and Before Midnight are best seen as an example of memento mori art. Memento mori, the admonition to remember death, can take many forms, but the idea remains the same, namely that an awareness of our inevitable end should bear on how we live. I show how Richard Linklater’s warning works in each of the movies and argue that with the Before trilogy he makes a Frankfurt-style case that romantic love is (...) life’s summum bonum--i.e. "the ultimate ground of practical rationality.". (shrink)

The Database, Logic, and Suffering _Memento_ and Random-Access Information Aesthetic.

Francisco Caro de Hojeda es el autor de este pequeño libro. Siguiendo las ideas predominantes en su época, presenta el orden y el significado de la oración de Memento en el rito de la Eucaristía. Se invita a los fieles a participar en la oración que el presidente de la celebración eucarística presenta a Dios en nombre de la Santa Iglesia. Se percibe un profundo sentimiento pastoral cuando se insta a los presentes a Unirse al Sacrificio así renovado.

Andrew Marvell’s “To His Coy Mistress” is one of the best known and most commented on poems in the English language. According to the critical consensus, the poem is a seduction gambit in the “Carpe Diem” tradition. Interpretive debate therefore revolves around the significance of the allusions and imagery of the poem, rather than its central meaning. Moving against the current, this article challenges the critical consensus that Marvell’s “To His Coy Mistress” is a poem that has seduction as its (...) main significance or implied intention. Reading the poem with attention to its ironic moments and theological references reveals that its allusions and imagery are systematically ambivalent. In the context of Marvell’s other poetry, especially “Dialogue of the Soul and the Body,” it becomes possible to show that “Coy Mistress” shares many features with these metaphysical meditations on mortality and spirituality. By making reference to psychoanalytic theory, the article then demonstrates the plausibility of a reading in which the poem aims to avoid, rather than engorge, sexual desire. The poem is a monument to repression, and a reminder of mortality, not a love lyric. (shrink)

It is known that antiquity understood man as an organic part of the cosmos, which occupies the highest place among natural beings. Instead, the Middle Ages led man beyond the limits of cosmic natural life, proclaiming, on the one hand, an invisible connection with the transcendent God, and, on the other, humiliating the complete dependence caused by his fall upon Divine grace. The Middle Ages are about the discovery of the "inner man", who in the cosmos does not meet anything (...) and know the depths of which can only be obtained by the supernatural light of grace [Haydenko P.P. Evolution of the concept of science.- M., 1980.- C. 409, 425]. Self-knowledge, like the knowledge of God, medieval philosophical thought subordinated the religious task of saving the soul. She transferred the center of gravity of ethics from the sphere of knowledge to the sphere of faith, giving priority to freedom rather than reason - which led to the assertion of man as an active subject of action as opposed to the objectively contemplative attitude of antiquity. Such activity of the subject, despite its purely religious orientation, subsequently played an important role in the formation of the identity of the Renaissance individual. (shrink)

“You have to begin to lose your memory, if only in bits and pieces, to realize that memory is what makes our lives. Life without memory is no life at all, . . . Our memory is our coherence, our reason, our feeling, even our action. Without it, we are nothing.” – Luis Buñuel..

Film can be a significant way of doing public philosophy. This chapter sketches some essential public features of philosophy by using popular films. Learning to watch popular films as philosophical expressions, on par with books and articles, brings film and philosophy to inform one another and illuminate important areas of overlap. Memento is an especially uncanny film because it begins with the story's ending. Daniel J. Clark's 2018 documentary film Behind the Curve charts the resurgence of flat‐Earth theory in (...) the United States. Its core thesis is that false, avowed belief in flat‐Earth is sustained partly by an irrational weighing of evidence reinforced by various social, psychological, and economic benefits that come from holding the belief. We gain insight into a classic mechanism of motivated reasoning from Tony Kaye's film American History X, a fictional exploration of the rise of white supremacist ideology in US white working‐class neighborhoods. (shrink)

This article explores the affinities between film and philosophy by returning to a shared meditation on death and the nature of time. Death has been considered the muse of philosophy and can also be considered the muse of film-philosophy. But what does it mean to say that to film-philosophise is to learn to die, or a kind of training for dying? Film is an artistic object that reminds us of death’s inevitability; it is a meditation on the transient and finite (...) nature of time. Films as diverse as Mizoguchi’s Tales of Ugetsu, Resnais’s Hiroshima mon Amour, and Guzmán’s Nostalgia for the Light take an uncanny approach to the subject, expressing the paradoxical coexistence of life and death and of different temporal dimensions. This article explores the philosophical concept of the death-image and time through a Deleuzian approach to cinema, meditating on the flashback, the coexistence of the present and the past, and the emergence of a new type of Lazarean character – one who returns from the dead. The article aims to clarify not simply death’s unquestionable omnipresence in film but also cinema’s role as a contemporary version of the trope of memento mori. (shrink)

Leading scholars respond to the famous proposition by Andy Clark and David Chalmers that cognition and mind are not located exclusively in the head. Where does the mind stop and the rest of the world begin? In their famous 1998 paper "The Extended Mind," philosophers Andy Clark and David J. Chalmers posed this question and answered it provocatively: cognitive processes "ain't all in the head." The environment has an active role in driving cognition; cognition is sometimes made up of neural, (...) bodily, and environmental processes. Their argument excited a vigorous debate among philosophers, both supporters and detractors. This volume brings together for the first time the best responses to Clark and Chalmers's bold proposal. These responses, together with the original paper by Clark and Chalmers, offer a valuable overview of the latest research on the extended mind thesis. The contributors first discuss objections raised to Clark and Chalmers's thesis. Clark himself responds to critics in an essay that uses the movie Memento's amnesia-aiding notes and tattoos to illustrate the workings of the extended mind. Contributors then consider the different directions in which the extended mind project might be taken, including the need for an approach that focuses on cognitive activity and practice. (shrink)