This essay has a fabulist tone that blends philosophical writing with literary expression. It is an attempt to compose memory assemblages through poetic plasticity tied to the play between retention and retrieval. This play is based on the logic of addition, as conceived by Bensusan in Memory Assemblages: Spectral Realism and the Logic of Addition. With this aim in mind- an aim that is simultaneously ethical, political, and aesthetic - I divide the text into six more or less connected parts. The opening section functions as an introduction to the ineffectivity of knowledge in the face of the vastness of the cosmos. The second part constitutes the first assemblage of the text: here, I attempt to show the creative character of retrieval, which adds origins to a single history or different histories to a single origin. The third part refers to the second assemblage, where I retell a love history constructed through the logic of addition: this spectral history deals with the non-reciprocity between the self and the other in the kinetic and poetic composition of a fluid relation with the memory of the disappeared who, although expropriated from the future by the rupture of the present, still possess an ancestral genealogy to be retraced on account of a somewhat unreasonable feeling, namely, homesick. The fourth part of the essay corresponds to the third assemblage: in it, I seek to retrace, through the errancy typical of cockroaches, the possible genealogies of the disappeared. More precisely, drawing on cockroaches, I argue that spectral ultrametaphysics is a submetaphysics, since the transcendence pertaining to the addition of errancy takes place in cosmic immanence-or better, along the path of horizontal displacement toward the multiple recesses of the world that open by the exercise of the future-and-the-past, i.e, the agglutination between the future and the past. The fifth part of the text is the fourth assemblage: at this point, I return to the love history previously narrated to retell it under the sign of Saturn, the planet of slow revolutions and delays. In this assemblage, I attempt to indicate the extent to which the ineffectivity of Saturnine love corrodes the ethos of capitalist despair. Finally, in the last breath of the text, I seek to quickly explain what I understand by cosmic austerity and how it relates to the spectral demand for justice.
The aim of this article is to appropriate the most important concepts from Hilan Bensusan's Memory Assemblages in order to revise my philosophical concept of education. To this end, emphasis will be placed on the concepts of addition, retention, and retrieval. But it will also be considered the broader perspective from which Hilan Bensusan conceives Memory Assemblages. Rather than representing another kind of metaphysics, his doctrine of memory assemblages stems from what Bensusan calls ultrametaphysics. Unlike metaphysics, ultrametaphysics-here's the difference-does not assume any single, primordial principle for everything. Thus, I will attempt to show how the concepts ofMemory Assemblages renew my concept of experience-a fundamental aspect of my philosophical concept of education. Finally, I will point out a question which Bensusan does not develop in Memory Assemblages regarding the concept of force-which is frequently mentioned in his text, but without adequate consideration.
In this paper, I follow Bensusan's lead regarding the need of addition for the constitution of memory and explore in what sense love can in occasions provide the necessary addition while improving, rather than jeopardizing, the normative standing of memory. To illustrate the relationship between memory as a source of knowledge and love, I make use of a variety of examples taken from films by Bu & ntilde;uel, Bergmann and Kore-eda, from literature and history, and from personal experience. Likewise, I rely on ideas from traditions ranging from feminist and antiracist standpoint epistemology to Wittgenstein's discussion of rule following.
This article examines how videos of police brutality in Brazil-specifically the Favela Naval scandal (1997) and the murder of Genivaldo Santos (2022)-produce spectral rather than merely evidentiary effects. Drawing on Derrida, Avery Gordon, Hilan Bensusan and Denise Ferreira da Silva, it argues that the power of these images lies not in visibility or transparency but in their capacity to evoke the ghosts of slavery and dictatorship, destabilizing hegemonic narratives of justice, empathy, and race in Brazil's necropolitical order.
