ESSAY TWENTY - OUR ARTISTIC MEMORY

In the previous essay, I suggested that there might be two types of memory. The everyday type of memory that is first developed in our very early years and refined in school has many uses, but it is also misunderstood. It is great for recalling past data or processes, but it is not very effective in what we think as “problem solving”. Because this memory deals with data already learned, it can limit us from “thinking outside of the box”. It has been observed many times, that if a hammer is the only tool you have, everything looks like a nail. The other memory, which I referred to as Psychic Memory, is harder to quantify, but it can be a powerful tool, especially for the artist.

One way of differentiating the two types is to draw an analogy. In a much earlier essay, we talked about analytical learning styles, which is the logical, linear type of instruction/learning featured in schools and vocational training programs. In a less formally structured way, this type of “problem solving” progresses from a myriad of small data bits, which we then form into larger cognitive structures called information (instead of data). When enough information is available, a strategy or plan of action can be formed, and we are able to move towards a solution or a mental framework that makes “sense” of the problem we face. As this process occurs, our conscious, aware, mind constantly scans the process, fine-tuning and directing it towards ever more precise and detailed conclusions. If successful, we can feel that we have solved the problem that was presented, and we have been active in and aware of the entire process.

The second form of memory, or psychic memory operates much more like intuitive learning and decision-making than it does analytical learning. When we utilize intuitive problem solving, on some preconscious level we may be collecting and storing data, but the type and the scope of the data collected is not a completely conscious activity, nor is it consciously direct. Unlike analytical problem solving, during which we are actively collecting as much information as possible, intuitive data gathering takes place outside of our active and focused control. Wandering, daydreaming, “wool gathering” and moments of relaxed and unfocused meditation are the fertile grounds for building a reservoir of intuitive data. Rather than an active quest, it is a passive quest – remember, “All Who Wander Are Not Lost”.

As the data is processed, and often right up to the moment of “intuitive insight” (or decision making), much of the intellectual processing takes place “out of sight” of our conscious awareness. While we may be aware of our sudden insight, (the light bulb going on over our head) we may not have any idea at all, as to how we arrived at this inspiration.

Just as in Intuitive learning, psychic memory has a similar manifestation. The process, the orientation and the mechanisms by which it works are not usually visible to our mind’s eye, but we can train ourselves to be aware of the results, and to understand their implications for us. Most importantly, we can develop an attitude that recognizes intuition as a strength that is the equal of analysis. For working artists, psychic memory has the potential to be a fertile field, and one that can produce a bountiful harvest.

Before continuing, this psychic memory that I have mentioned is just a hypothesis, but one that seems to explain a great deal. It is clear that our personality, attitudes, mind-set and approach to everything we do in life is unique and highly individualized. It affects the way we think, what we value, and probably how we live our lives. It is also clear that this unique set of personal traits is set by environment (or life forces) at least as much (if not more than) genetic and biological determinism. The assumption that I will be making is that one of the external factors that help us form our “selfness” is psychic memory.

They are our cumulative memories and awareness’s of persons, places, incidents and ideas that became one of our psychological building blocks. Why one memory is more important than another and how a particular memory accomplishes its impact is unknown. There are, however, some good reasons to feel that this does take place and significantly, it opens up some productive artistic avenues. Psychic Memory is not the type of memory to be preserved and then accessed for our usable memory bank. It is a memory more deeply buried, which serves as a marker or beacon, illuminating a psychic intersection. Just as a highway intersection represents a set of choices, our psychic intersections are decision points in our development – they are moments when we made a “choice” about who we are or who we were about to become. The memories associated with and linked to these “moments of truth” are powerful and laden with creative insights for us to explore.

In Essays Thirteen through Sixteen, we discussed Image Stories, which I described as personal stories that are always tickling our consciousness and seem to be with us on a regular basis. While superficially they do not seem to be memories of great importance, they evidence a power and a hold on our awareness. My premise is that our Image Stories are created and nurtured by our Psychic Memory and as artists, we need to not only honor them but to use them in our creative process. The following essays will deal with utilizing Images, Stories and ideas from your Psychic Memory. As always, feel free to leave comments or to e-mail me directly with ideas, suggestions or reactions.

ESSAY SIXTEEN – IMAGE STORY PART THREE

The past few essays have dealt with a discussion of Image Stories, which are clear and powerful personal narratives that occurred in the past. Usually they are not great moments in time or life altering events such as births, deaths, weddings, and relocations, but seemingly ordinary events that have the strange property of constantly re-emerging into your consciousness. Often their seeming ordinariness is what makes them puzzling, for they do not have any obvious reason for being so powerful and evocative.

It is my premise that these stories hold powerful personal truths, and can be the source of many artistic creations. Rather than approaching them intellectually and analytically, we need to view them intuitively and symbolically. They are not a biology class frog, to be carefully dissected, but deeply imbedded personal images that must be allowed to enter our consciousness, freely and unfettered by our preconceptions and mental censors.

I am going to present the following exercises in visual terms, but for those who are writers, dancers, poets and musicians, I encourage you to respond both visually as well as through forms that seem more intuitive. As a matter of simple truth for all of us, the greater number of your senses you bring to bear on any problem or activity, the deeper the experience is likely to be. It is important to remember, however, that these should be done spontaneously, without trying to be technically proficient and certainly with no intent to create a “work of art”.

If you have not recently read the Image Story essays, preceding this entry, it might be helpful to re-read them before continuing.

Your first step is to “open-up” your Image Story, in your mind, and let it fill your awareness. Don’t try to analyze it, just enjoy.

The second step is to insure that you yourself are an active participant in the narrative – don’t be the narrator or the third person storyteller.

Now let the narrative “have its head” – allow it to go where it wants, don’t lead, but follow in the moment. If it seemingly is going in a direction that is new, wrong, or different from what “really happened”, don’t stop, but go along for the ride. In other words, allow yourself to re-live the experience, as it happened long ago

After you feel the story has temporarily run its course, you might want to allow some of the following questions to speak:

WHAT PERSONAL TRUTHS ARE SUGGESTED?

WHAT KINDS OF RELATIONSHIPS ARE IMPLIED?

WHAT ARE YOUR SATISFACTIONS?

WHAT PERSONAL QUALITIES ARE REWARDED?

WHAT ARE THE INCOMPLETIONS YOU HAVE REALIZED?

WHAT ARE THE QUESTIONS THAT NEED TO BE ASKED?

WHAT NEW DIRECTIONS DO YOU SENSE BEING SUGGESTED?

WHAT NEW INSIGHTS INTO SELF ARE BEING MANIFESTED?

Open a sketchbook to a blank page, and again think of your Image Story. Let it wash over you and become immersed in its power. After a few moments, do two or three quick sketches (thirty seconds to a minute each) of whatever pops into your mind while experiencing your story. These sketches should not be detailed, nor will they be realistic. Now, by letting your mind free associate, think of six or eight words or phrases that also “belong” on the page. Remember, quick and intuitive - don’t plan, and don’t try to be clever or insightful – just an honest, first response. Lastly, get one or two of your colored drawing tools, and express the mood or emotion that you feel, but only with color. This will be beneficial, even if you feel you are not a visual artist, but a writer, dancer etc. You also should feel free to portray your responses in any additional expressive form that seems appropriate.

Now, turn to a blank page, and do the same “story” again, but do it with your eyes closed. You may lay out your required materials on the table, but do not look at all from the time you first start to the time you are finished (three or four minutes per page. Don’t peek, don’t simplify to make it easier, and please don’t worry about layout, neatness or composition. You are not creating a signed work that is to be framed or sold, but starting to set up some free association links between your hand and brain. If you are writing or dancing, do that also with your eyes closed.

Do this for three or four Image Stories. The quicker you can work, and the more you can work without visually insuring that everything “comes out all right”, the more productive you will be. For most of us, there is always a part of our consciousness that worries a great deal about us getting out of control and making “a fool of our self.” The various disciplines of psychology have different names for this “censor”, but as artists, we need to be especially concerned, because this is the part of our mind that doesn’t want us being artists in the first place. When you work with your eyes closed, you are eliminating one of the strongest self-censoring mechanisms you have.

You are creating these images to explore how you react to your own ideas, and to start giving yourself permission to create visual shortcuts, symbols and abstractions for your ideas. By eliminating traditional subject matter and minimizing explanatory words, we are also cutting down on the influence of our censor - it knows how to control things that are analytical. It is hopelessly naive when it comes to free form.

While later on we will discuss a variety of ways that you can start to incorporate your Image Stories into your work, it would be helpful as you go to “play with it “ now. Don’t make this hard work, and don’t agonize over it, but every time you allow yourself to get lost in your images, also allow yourself to play with what ever media makes you feel comfortable. You are not creating a masterpiece, you don’t have to show this to a soul, and you certainly shouldn’t be concerned with your technical skills. Play. Play not as an adult, who worries about first learning the rules of the game, but play like a child who is totally immersed in activity, and that doll, or truck, or cardboard box is all that is important in the entire universe. Play like those French students played basketball.

We have taken a first step. The next essay will talk a bit about the Caloosa Indians, and following essays will give you additional tools to start giving form to what you are discovering within yourself. Again, I invite your comments.