Elite Romans periodically chose to limit or destroy the memory of a leading citizen who was deemed an unworthy member of the community. Sanctions against memory could lead to the removal or mutilation of portraits and public inscriptions. Harriet Flower provides the first chronological overview of the development of this Roman practice--an instruction to forget--from archaic times into the second century A.D. Flower explores Roman memory sanctions against the background of Greek and Hellenistic cultural influence and in the context of the wider Mediterranean world. Combining literary texts, inscriptions, coins, and material evidence, this richly illustrated study contributes to a deeper understanding of Roman political culture.

How do we forget? Why do we need to forget? This book intends to answer to these and other questions. It aims to demonstrate that each one is who it is due to their own memories. Thus, distinguish between the information we should keep from those we should forget is an difficult art. In this book, the author discusses about the different types of memory, the main types of forgetting (avoidance, extinction and repression), their brain areas and their mechanisms. In this sense, the art of forgetting, or the art of do not saturate our memory mechanisms, is something innate, that benefits us anonymously, keeping us from sinking amidst our own memories. The essays that compose this book go through several aspects, since individuals to societies' memory. By the end of the book, the reader will be able to understand that we forget to be able to think, to live and to survive.

*A New York Times bestseller* 'Using her expertise as a neuroscientist and her gifts as a storyteller, Lisa Genova explains the nuances of human memory' - Steven Pinker, Johnstone Professor of Psychology, Harvard University, and bestselling author of How The Mind Works 'No one writes more brilliantly about the connections between the brain, the mind, and the heart. Remember is a beautiful, fascinating, and important book about the mysteries of human memory - what it is, how it works, and what happens when it is stolen from us. A scientific and literary treat that you will not soon forget.' - Daniel Gilbert ( New York Times bestselling author of Stumbling on Happiness) Have you ever felt a crushing wave of panic when you can't for the life of you remember the name of that actor in the movie you saw last week, or you walk into a room only to forget why you went there in the first place? If you're over forty, you're probably not laughing. You might even be worried that these lapses in memory could be an early sign of Alzheimer's or dementia. In reality, for the vast majority of us, these examples of forgetting are completely normal. Why? Because while memory is amazing, it is far from perfect. Our brains aren't designed to remember every name we hear, plan we make or day we experience. Just because your memory sometimes fails doesn't mean it's broken or succumbing to disease. Forgetting is actually part of being human. In Remember, neuroscientist and acclaimed novelist Lisa Genova delves into how memories are made and how we retrieve them. In explaining whether forgotten memories are temporarily inaccessible or erased forever and why some memories are built to exist for only a few seconds while others can last a lifetime, we're shown the clear distinction between normal forgetting (where you parked your car) and forgetting due to Alzheimer's (that you own a car). Remember shows us how to create a better relationship with our memory - so we no longer have to fear it any more, which can be life-changing.

Harald Weinrich's epilogue considers forgetting in the present age of information overflow, particularly in the area of the natural sciences."--Jacket.

An elegant and warm-hearted meditation on love, damage, survival, and restoration from an exhilarating stylist.

A moving and insightful debut novel of great friendship interrupted. Can the relationship survive when the memories are gone? Marissa Rogers never wanted to be an alpha; beta suited her just fine. Taking charge without taking credit had always paid off: vaulting her to senior editor at a glossy magazine; keeping the peace with her critical, weight-obsessed mother; and enjoying the benefits of being best friends with gorgeous, charismatic, absolutely alpha Julia Ferrar. And then Julia gets hit by a cab. She survives with minor obvious injuries, but brain damage steals her memory and alters her personality, possibly forever. Suddenly, Marissa is thrown into the role of alpha friend. As Julia struggles to regain her memory- dredging up issues Marissa would rather forget, including the fact that Julia asked her to abandon the love of her life ten years ago- Marissa's own equilibrium is shaken. With the help of a dozen girls, she reluctantly agrees to coach in an after-school running program. There, Marissa uncovers her inner confidence and finds the courage to reexamine her past and take control of her future. The Art of Forgetting is a story about the power of friendship, the memories and myths that hold us back, and the delicate balance between forgiving and forgetting.

"Robert Irwin, perhaps the most influential of the California artists, moved from his beginnings in abstract expressionism through successive shifts in style and sensibility, into a new aesthetic territory altogether, one where philosophical concepts of perception and the world interact. Weschler has charted the journey with exceptional clarity and cogency. He has also, in the process, provided what seems to me the best running history of postwar West Coast art that I have yet seen."—Calvin Tomkins

The work of art's mattering and materialization in a globalized world, with close readings of works by Takahashi Murakami, Andreas Gursky, Thomas Hirschhorn, and others. It may be time to forget the art world—or at least to recognize that a certain historical notion of the art world is in eclipse. Today, the art world spins on its axis so quickly that its maps can no longer be read; its borders blur. In Forgetting the Art World, Pamela Lee connects the current state of this world to globalization and its attendant controversies. Contemporary art has responded to globalization with images of movement and migration, borders and multitudes, but Lee looks beyond iconography to view globalization as a world process. Rather than think about the “global art world” as a socioeconomic phenomenon, or in terms of the imagery it stages and sponsors, Lee considers “the work of art's world” as a medium through which globalization takes place. She argues that the work of art is itself both object and agent of globalization. Lee explores the ways that art actualizes, iterates, or enables the processes of globalization, offering close readings of works by artists who have come to prominence in the last two decades. She examines the “just in time” managerial ethos of Takahashi Murakami; the production of ethereal spaces in Andreas Gursky's images of contemporary markets and manufacture; the logic of immanent cause dramatized in Thomas Hirschhorn's mixed-media displays; and the “pseudo-collectivism” in the contemporary practice of the Atlas Group, the Raqs Media Collective, and others. To speak of “the work of art's world,” Lee says, is to point to both the work of art's mattering and its materialization, to understand the activity performed by the object as utterly continuous with the world it at once inhabits and creates.

Traces the life and career of the California artist, who currently works with pure light and the subtle modulation of empty space

"An absolutely dazzling entertainment. . . . Arousing on every level—political, erotic, intellectual, and above all, humorous." —Newsweek "The Book of Laughter and Forgetting calls itself a novel, although it is part fairy tale, part literary criticism, part political tract, part musicology, and part autobiography. It can call itself whatever it wants to, because the whole is genius." —New York Times Rich in its stories, characters, and imaginative range, The Book of Laughter and Forgetting is the novel that brought Milan Kundera his first big international success in the late 1970s. Like all his work, it is valuable for far more than its historical implications. In seven wonderfully integrated parts, different aspects of human existence are magnified and reduced, reordered and emphasized, newly examined, analyzed, and experienced.