Mapping Memory: Visuality, Affect, and Embodied Politics. (Forthcoming with Fordham University Press.)
Blurb: In Mapping Memory: Visuality, Affect, and Embodied Politics, Kaitlin M. Murphy analyzes a range of visual memory practices that have emerged in opposition to political discourses and visual economies that suppress certain subjects and overlook past and present human rights abuses. From the Southern Cone to Central America and the US-Mexico borderlands, and across documentary film, photography, performance, memory sites, and new media, she compares how these visual texts use memory as a form of contemporary intervention. Interweaving visual and performance theory with memory and affect studies, Murphy develops new frameworks for analyzing how visual culture performs as an embodied agent of memory and witnessing. She argues that visuality is inherently performative; and analyzing the performative elements, or strategies, of visual texts – such as embodiment, reperformance, reenactment, haunting, and the performance of material objects and places – elucidates how memory is both anchored into and extracted from specific bodies, objects, and places. Murphy progressively develops the theory of memory mapping, defined as the visual process of representing the affective, sensorial, polyvocal, and temporally layered relationship between past and present, anchored within the specificities of place. Ultimately, by exploring how memory is “mapped” across a range of sites and mediums, Murphy argues that memory mapping is a visual strategy for producing new temporal and spatial arrangements of knowledge and memory that function as counter-practices to official narratives that often neglect or designate as transgressive certain memories or experiences.
Refereed Journal Articles
2017 “Embodied Practices of Place-making and Protest: Performance Art in the Sonoran Desert.” (In progress.)
2017 “Bodies in/as Export: Witnessing Migration as the Labor of Survival.” (Under review.)
2016 “Mapping Memory: Affect, Place, and Testimony in El Lugar Más Pequeño.” Journal of Latin American Cultural Studies 25(4): 571-595.
2016 “Remembering in Ruins: Touching, Seeing, and Feeling the Past in Nostalgia for the Light.” Journal of Spanish and Latin American Cinemas 13(3): 265-281.
2015 “What the Past Will be: Curating Memory in Peru’s Yuyanapaq: Para Recordar.” Human Rights Review 16(1): 23-38.
2017 “The Look of Silence: Embodied Visuality and the Demand for Justice.” In Historical Dialogue and Mass Atrocity Prevention (working title). (In progress.)
2015 “The Matter of Memory: Remembering and Reenacting the Past in Patricio Guzmán’s Chile, Memoria Obstinada.” In Theatre/Performance Historiography: Time, Space, Matter, edited by Michal Kobialka and Rosemarie Bank, 153-173. New York: Palgrave Macmillan. (Invited and refereed.)
2012 “Performance and Truth and Reconciliation.” In Teaching Module, Hemispheric Institute of Performance and Politics.
2011 Review of Where Memory Dwells: Culture and State Violence in Chile, by Macarena Gómez-Barris, E-misférica 7.2: web.
2010 Review of The Optic of the State: Visuality and Power in Argentina and Brazil, by Jens Andermann, E-misférica 7.1: web.
Performance studies, visual culture, memory studies, affect, hemispheric American studies, politics and human rights, borders and migration.