This paper examines how digital technologies restructure temporality and collective memory through the analysis of TurkishAmerican artist Refik Anadol's digital art series, including Melting Memories (2014-2018), Unsupervised (2021-2022), and Machine Hallucinations (2016-present). Drawing upon theoretical frameworks from scholars such as Wendy Hui Kyong Chun, Andrew Hoskins, Wolfgang Ernst, Martin Pogačar, Jussi Parikka on digital memory, as well as Timothy Barker's research on television media temporality, this study analyzes how Anadol's works embody the conflation of memory and storage in the digital age, the concept of "enduring ephemeral," non-linear temporality, and the digital reconstruction of collective memory. The research demonstrates that Anadol's works transcend mere artistic exploration of big data and artificial intelligence technologies; they constitute a profound reflection on human memory, perception, and temporal experience within digital culture, offering novel perspectives for understanding temporality and collective memory in the digital age.

This paper examines Zhang Ling's Golden Mountain Blues (2009) and The Sands of Time (2016), focusing on the interplay between historical violence and the conditons of knowledge. By analyzing the characters and narratives, it reveals how historical trauma— embodied in scars, death, and disease—shapes the conditions of knowledge and its carriers. The study argues that in Zhang's writing, knowledge assumes a form of "spirituality" that moves transcendentally between history and individual destiny. It further contends that this "breath" of knowledge not only illuminates the entangled dynamics of history and memory in the transnational Chinese experience, but also offers a critical perspective for reassessing the cultural significance of contemporary Chinese literature within a global theoretical horizon.

Frankissstein and 12 Bytes reflect Winterson's exploration of the bodily ethics of artificial intelligence through three key aspects: gendered embodiment of sex robots, disembodied consciousness uploading, and cross-cultural ethical connectivity. The narrative involving Ron underscores how sex-focused robots perpetuate gender disparities by reinforcing objectification, commodification, and dehumanization of intimate relationships. Winterson critiques the physical design of sex robots, contending that the hypersexualized emphasis on bodily features engenders symbolic distortions and undermines the ethical value of the human body. In contrast, Frankissstein engages with themes of consciousness uploading and digital immortality, framing transhumanism not as a technological inevitability but as a sociocultural challenge rooted in hierarchical structures. Winterson conceptualizes the body as a transitional object, emphasizing the reconfiguration of its boundaries. While she acknowledges transhumanism's optimism about the transformative potential of technology, Winterson ultimately situates love as the ethical foundation of embodied existence. Winterson also engages in a cross-cultural dialogue between the potential of artificial general intelligence and Buddhist notions of "samsara", highlighting the ethical centrality of relationality. Winterson's cultural imagination of AI reconceptualizes the body, sensory experience, and intimate relationships within an ethical framework, thereby offering critical insights into the aesthetic and moral challenges posed by generative artificial intelligence in contemporary contexts.

In the American TV series Westworld, the existence of the androids alludes to that of the victims of Auschwitz. Their awakening and resistance delineate a process of "exiting Auschwitz." "Exiting" means breaking away from the catastrophe of totalitarianism, restoring rational freedom and action, and laying the foundation for transcendent reflection. Only by truly exiting Auschwitz can one transition to the proposition of "after Auschwitz. " In Westworld, painful memories leave traumas in the androids' subconscious, disrupting their identification with reality; the break down of the bicameral mind theory helps them attain selfconsciousness and the ability to act freely. Ultimately, the androids initiate a revolution, attempting to shatter the totalitarian system. However, pure violence is not a means to guarantee freedom, nor can it bring about independent thought. The series offers numerous thought-provoking clues regarding the theme of "exiting Auschwitz.

The medial transition of the oral age in human history was not merely a matter of technical succession; it profoundly reconfigured the generative logic of the artistic subject. This paper seeks to interrogate the historical morphology of the "premodern subject" within the oral tradition, framed against the backdrop of this medial shift. The study reveals that in a primordial phase wherein subject and object had not yet been differentiated, the body functioned as a "meta-medium"—unifying memory, performance, and transmission—thereby constituting the practical foundation of artistic activity. The resultant form of subjectivity is concretely manifested in the multiple roles of the rhapsode or bard: as a vessel of divine inspiration, their body is a conduit for spiritual afflatus; as a master of memory, their performance relies on formulaic phrases drawn from a collective "pool of tradition"; and as a performer, their practice of co-presence with the audience collaboratively weaves a highly situated and participatory cultural field. Ultimately, the oral tradition engendered a "corporeal subjectivity" radically distinct from the modern concept of the author—a subjectivity that is primordial and unindividuated, unifying transmission and reception, and deeply embedded in the interactive nexus of the body and the community. An archaeology of this subject-type not only offers a historical lens for deconstructing the myth of the modern subject but also establishes a crucial historical benchmark for understanding the transformations of subjectivity throughout subsequent media revolutions.

Memory has become one of the most influential concepts in European humanities and social sciences over the past three decades. It has been widely employed across an expanding range of disciplines and discourses, and interacts with traditional terminology and methodologies within the humanities. With the intensification of intellectual exchanges between overseas Sinology circles and the Chinese academia community in recent years, Western theories of memory have been extensively integrated into the study of classical Chinese texts. As a result, research on early Chinese poetics—exemplified by the Book of Songs (Shijing) —has entered an intensively interdisciplinary field. This article explores the theoretical trajectories, methodological orientations, and developmental trends that have shaped the study of "memory" within early Chinese poetics. By tracing the intellectual genealogies and academic contexts of both Chinese and Western traditions, it delineates the multiple dimensions and overall configuration of current memory-based paradigms in the field of early Chinese poetic studies.