425 Colour B(l)ind Textus XXII (2009), pp. 425-442. Katherine E. Russo Colour B(l)ind: Memory Practices in Brenda L. Croft’s Visual Art Australian landscapes conjure up memorial palimpsests, a series of intercultural lieux de mémoire, folded into continual erasures and new configurations (Carter 1987: 25). At its outset, a study of Aus- tralia’s phenomenology of memory finds itself confronting the for- midable aporia of intercultural communication: the representation of the past seems to appear as that of an image, yet not a fixed one (Ricoeur 2004: 6). Eidetic definitions of memory, which derive from the phenomenological philosophy of Edmund Husserl, suggest that not only the self knows itself through memory-images, but in order to do so it must be already ontologically constituted in rela- tion to the memory-images of others (1962: 14). As the founder of phenomenological sociology, Alfred Schutz, further suggested, indi- viduals recognize memory as intersubjective – that is, shared with people like themselves joined by a reciprocity of perspectives (1967: 163-172). Yet, his assumption that individuals can communicate with others, understand their motives, make themselves understood, and coordinate action across shared typifications of memory, lacks any extended consideration of personal and collective “possessive investments” in memory-images. As is well known by now, memory often works according to the logics of textuality and is determined by various factors, most notably the conditions and constraints of the present (Frow 1997: 228). Thus, memory emerges as a question within, not outside or in opposition to, the phantasmatic economy