A Quote by Henri Cartier-Bresson
Memory is very important, the memory of each photo taken, flowing at the same speed as the event.
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Memory is very important, the memory of each photo taken, flowing at the same speed as the event. During the work, you have to be sure that you haven't left any holes, that you've captured everything, because afterwards it will be too late.
Memory is strange. Scientifically, it is not a mechanical means of repeating something. I can think a thousand times about when I broke my leg at the age of ten, but it is never the same thing which comes to mind when I think about it. My memory of this event has never been, in reality, anything except the memory of my last memory of that event. This is why I use the image of a palimpsest - something written over something partially erased - that is what memory is for me. It's not a film you play back in exactly the same way. It's like theater, with characters who appear from time to time.
We no longer see the evolution of the nervous system, but that of a certain individual. The role of the memory is very important but... not as important as we believe. Most of the important things that we do don't depend on memory. To hear, to see, to touch, to feel happiness and pain; these are functions which are independent of memory; it is an a priori thing. Thus, for me, what memory does is to modify that a priori thing, and this it does in a very profound way.
Apparently there is redundancy in memory: You store the same memory in different parts of your brain for accessing at different speeds. That speed would depend on the frequency of use and the importance of the knowledge.
But pain may be a gift to us. Remember, after all, that pain is one of the ways we register in memory the things that vanish, that are taken away. We fix them in our minds forever by yearning, by pain, by crying out. Pain, the pain that seems unbearable at the time, is memory's first imprinting step, the cornerstone of the temple we erect inside us in memory of the dead. Pain is part of memory, and memory is a God-given gift.
I have a good memory. But I would be interested in memory even if I had a bad memory, because I believe that memory is our soul. If we lose our memory completely, we are without a soul.
My biggest fear is losing memory because memory is what we are. Your very soul and your very reason to be alive is tied up in memory.
As you may know, my motto is: "All memory is fiction." It could just as easily be: "All fiction is memory." Unpacked, these two statements defy the ease of logic, but offer some really important truths about narrative art, at the very least, and about memory. So I would say that all art is personal.
Literally, my earliest memory, my earliest vivid memory, is the Apollo 11 landing on the Moon. Yeah, I was in fourth grade, and I was just so captivated. And I think you'll find a lot of space scientists of my generation will say the same thing. Apollo was a big event for them.
Memory depends mainly upon myth. Some even occurs in our minds, in actuality or in fantasy; we form it in memory, molding it like clay day after day - and soon we have made out of that event a myth. We then keep the myth in memory as a guide to future similar situations.
The very first thing an executive must have is a fine memory. Of course it does not follow that a man with a fine memory is necessarily a fine executive. But if he has the memory he has the first qualification, and if he has not the memory nothing else matters.
The computer is a very regular structure. It's very uniform. It's got a bunch of memory, and it's got a little element that computes bits of memory and combines them with each other and puts them back somewhere. It's a very simple thing.
I always try to write from memory, and I always try to use memory as an editor. So when I'm thinking of something like a relationship or whatever, then I'm letting my memory tell me what the important things were.
There's something known as "memory conformity," also known as "social contagion of memory," which refers to a situation where one person's telling of a memory influences another person's account of that same experience.
Our study showed that the false memory and the genuine memory are based on very similar, almost identical, brain mechanisms. It is difficult for the false memory bearer to distinguish between them.
A writer's main tool is his memory - his own memory, the collective memory of his people. And the strongest memory is the one that is created by a wound to the heart.
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