In Living Memory starts with a disturbing, yet winsome discussion between an old man sitting on a park bench and a younger woman behind the camera. After rejecting a suggestion that he tell some of the stories of his life, he asks the voice behind the camera who her parents are. Thus ensues a sobering and comical discussion between father and daughter. This footage is the anchor and the central core of In Living Memory. Woven in between fragments of this discussion in the park, are stories and images which give a sense of my understanding of my father's history and convey the nature of our relationship. I tell stories about his life as an artist and an active communist and about our political disagreements. His vibrantly coloured prints from the 1930s form a tapestry of his work and an embodiment of his memory. By the end of the tape it is still not clear whether my father remembers who I am, but it no longer matters. The strength and intimacy of our relationship has been established and expanded notions of memory have challenged narrow and conventional views of cognition.