FORGETTING CONFERENCE. CASTRUM PEREGRINI / tensions on Internet about tembrr and forgetting/ Facebook memory, algorithm memorys/ as much as I know about digital memory the less I want to remenber digitally/ the Google algorithm makes an important role on how we remember/ how memory works in 21 century. Inmigrant, remaniscence bomb a memory spike, that happen in a period of life teenagers, but also when you move to another country (refugees inmigrants) trauma. Forgetting the exception remembering the default. How to remember resposable, not getting lost? Everything you store, you forget it. Technologies undermine everything (distraction,gps). What is important is the way you handle information, not memorize. Trauma and facebook, you can’t move to a place without having your life behind. The circle Mac ?.    Snapshot. Memory spike, if the migrant and refugees have all this digital memory (photos of home etc) the nostalgia will be not so big, so the memory spike will be more rounded less pick. I make a photo in order to move on, ok I have the photo now I can move on. Memory palace. The book on a box.  Stories for your screen website. Memory is always future oriented, not backwards. We are representing the past, the photos are just representation of the past.  Memory in the 21 century.  Sebastian groes. 





The republican government in Spain decided to give economic support to this cinematographic project as it would show in film theatres around the world the heroic defence of the Second Republic and the need to have more resources and help from those foreign powers that did not want the triumph of fascism.

The filming began in the summer of 1938 and stopped at the beginning of the next year after Franco’s troops entered the city of Barcelona, forcing the production team to cease filming.

The war was lost, they had not finished in time. The oeuvre was left half finished. Faced with this scenario, André Malraux and Max Aub decide to finish it in Paris despite the opposition of French authorities and without any help from the republican government in exile. 

Once finished, in July 1939, the initial premise that justified the filming of ‘Espoir’ was lost, it wasn´t so urgent to show a defeated government than prevent the consequences of an imminent Second World War.

Much like what happened in Spain with Franco’s troops victory, the fierce German army occupation of France wiped out all plans of the film’s distribution and release. Despite the great efforts of the German troops to destroy the original negative and all the existing copies, one negative stored in another film’s case remained intact. Thereafter the copy was miraculously conserved at the Pathé laboratories in Paris.




















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The Pact of Forgetting

The Pact of Forgetting (Spanish: el pacto del olvido) is the Spanish political decision (by both the leftist and rightist parties)[citation needed] to avoid dealing with the legacy of Francoism after the 1975 death of General Francisco Franco, who had remained in power since the Spanish Civil War in 1936–1939. The Pact of Forgetting was an attempt to put the past behind them and concentrate on the future of Spain.[1]

In making a smooth transition from a dictatorship to a democracy, the pact ensured that there were no prosecutions for persons responsible for mass suffering. On the other hand, Francoist public memorials, such as the mausoleum of the Valley of the Fallen, fell into disuse for official occasions.[2] Also, the celebration of «Day of Victory» during the Franco era was changed to «Armed Forces Day» so respect was paid to both Nationalist and Republican parties of the Civil War.

The pact underpinned the transition to democracy of the 1970s and ensured that difficult questions about the recent past were suppressed for fear of endangering ‘national reconciliation’ and the restoration of liberal-democratic freedoms. Responsibility for the Spanish Civil War, and for the repression that followed, was not to be placed upon any particular social or political group. «In practice, this presupposed suppressing painful memories derived from the dictatorship’s division of the population into ‘victors’ and ‘vanquished’.[3] While many historians accept that the pact served a purpose at the time of transition,[4] there is more controversy as to whether it should still be adhered to. Paul Preston takes the view that Franco had time to impose his own version of history, which still prevents contemporary Spain from «looking upon its recent violent past in an open and honest way».[5]


The right to be forgotten is a concept discussed and put into practice in the European Union (EU) and Argentina since 2006.[1][2] The issue has arisen from desires of individuals to «determine the development of their life in an autonomous way, without being perpetually or periodically stigmatized as a consequence of a specific action performed in the past.»[3]:231 There has been controversy about the practicality of establishing a right to be forgotten to the status of an international human right in respect to access to information, due in part to the vagueness of current rulings attempting to implement such a right.[4] There are concerns about its impact on the right to freedom of expression, its interaction with the right to privacy, and whether creating a right to be forgotten would decrease the quality of the Internet through censorship and a rewriting of history,[5] and opposing concerns about problems such as revenge porn sites appearing in search engine listings for a person’s name, or references to petty crimes committed many years ago indefinitely remaining an unduly prominent part of a person’s Internet footprint.[6]


The pitfalls of cultural memory and forgetting, understood through the genealogy of the phenomenon called déjà vu

This provocative book examines the history of déjà vu, offers a counterpoint to clichéd celebrations of cultural memory and forces us do a double take on the warnings against forgetting common in our time. Reaching from the early texts of Sigmund Freud to the plays of Heiner Müller, this exploration of the effects of déjà vu pivots around the work of Walter Benjamin.