Using the case of an undergraduate graphic design course taught in a Colombian private university, this article focuses on ways of teaching memory – historical, collective, cultural and individual. The authors emphasize the importance of the critical and socially responsible approach in education. Drawn from critical pedagogies and affective memory studies, the authors discuss the journey of the students of rediscovering alternative realities of their city and country and learning to acknowledge the complexity of memory and multiple forms of its mediation in a socially fragmented post-conflict society.
BennettJ (2005) Empathic Vision: Affect, Trauma, and Contemporary Art. Stanford, CA: Stanford University Press.
4.
BennettJ (2010) Vibrant Matter: A Political Ecology of Things. Durham, NC: Duke University Press.
5.
BertensLMF (2020) ‘Doing’ memory: performativity and cultural memory in Janet Cardiff and George Bures Miller’sAlter Bahnhof Video Walk. Holocaust Studies26(2): 181–197.
6.
CohenMillerASBoivinN (2021) Integrating the arts with collaboration and co-production. In: CohenMillerASBoivinN (eds) Questions in Qualitative Social Justice Research in Multicultural Contexts. London: Routledge, pp. 177–206.
7.
DolphijnR (2021) Doing justice to that which matters. In: RosaHHenningCBuenoA (eds) Critical Theory and New Materialisms. London: Routledge, pp. 143–154.
8.
EdkinsJ (2006) Remembering relationality. In: BellD (ed.) Memory, Trauma and World Politics. London: Palgrave Macmillan, pp. 99–115.
9.
EscobarA (2018) Designs for the Pluriverse: Radical Interdependence, Autonomy, and the Making of Worlds. Durham, NC: Duke University Press.
10.
Golovátina-MoraPBuiles TobónC (2018) ¿Cuál es el rol de la posmemoria?Analecta Política8(15): 189–195.
11.
HallS (1997) Representation: Cultural Representations and Signification. New York: SAGE.
12.
HarawayD (2016) Staying with the Trouble: Making Kin in the Chthulucene. Durham, NC: Duke University Press.
13.
HirschM (1992) Family pictures: Maus, mourning, and post-memory. Discourse15(2): 3–29.
14.
HirschM (1997) Family Frames: Photography, Narrative, and Postmemory. Cambridge, MA: Harvard University Press.
15.
HirschM (2019) Connective arts of postmemory. Analecta Política9(16): 171–176.
16.
HirschMSpitzerL (2020) School Photos in Liquid Time: Reframing Difference. Seattle, WA: University of Washington Press.
17.
HudzikJP (2018) Tomasz Pietrasiewicz: art and memory of the Holocaust. Analecta Política8(15): 255–277.
LevitasR (2013) Utopia as Method: The Imaginary Reconstitution of Society. London: Palgrave Macmillan.
21.
MaffesoliM (1996) Elogio de la Razón Sensible: Una Visión Intuitiva del Mundo Contemporáneo. Barcelona: Paidós.
22.
ØsternTPJusslinSNødtvedt KnudsenK, et al. (2023) A performative paradigm for post-qualitative inquiry. Qualitative Research23(2): 272–289.
23.
PapanekVJ (2000) Design for the Real World: Human Ecology and Social Change. London: Thames & Hudson.
24.
Pétursdóttir Þ (2020) Collaborative, public, participatory: pros and cons of an open archaeology. Norwegian Archaeological Review53(1): 1–4.
25.
PietrasiewiczT (2019) Theatre of Memory by the NN Theatre. Lublin: Ośrodek „Brama Grodzka – Teatr NN”.
26.
PyndiahG (2014) Memoriography and the archival impulse. ISTME working papers no. 8, pp. 1–8.
27.
RancièreJ (2004) The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum.
28.
SierpA (2021) Memory studies – development, debates and directions. In: BerekMChmelarKDimbathO, et al. (eds) Handbuch Sozialwissenschaftliche Gedächtnisforschung. Wiesbaden: Springer VS, pp. 1–11. https://doi.org/10.1007/978-3-658-26593-9_42-1
29.
SjøvollV (2023) Creating, uncreating and recreating: experimenting together with students, things and processes in design education. PhD Dissertation, University of South-Eastern Norway, Bø in Telemark.
ThorpeAGammanL (2011) Design with society: why socially responsive design is good enough. CoDesign: International Journal of Cocreation in Design and the Arts7(3–4): 217–230.