Like I have done with both the other themes I have looked into the meaning of the word ‘Memory’ in order to help me get more of a grasp of the word.
Memory- In psychology, memory is an organism’s mental ability to store, retain, and recall information. Traditional studies of memory began in the fields of philosophy, including techniques of artificially enhancing the memory. The late nineteenth and early twentieth century put memory within the paradigms of cognitive psychology. In recent decades, it has become one of the principal pillars of a branch of science called cognitive neuroscience, an interdisciplinary link between cognitive psychology and neuroscience.
From an information processing perspective there are three main stages in the formation and retrieval of memory:
• Encoding or registration (receiving, processing and combining of received information)
• Storage (creation of a permanent record of the encoded information)
• Retrieval, recall or recollection (calling back the stored information in response to some cue for use in a process or activity
Sensory memory corresponds approximately to the initial 200 – 500 milliseconds after an item is perceived. The ability to look at an item, and remember what it looked like with just a second of observation, or memorization, is an example of sensory memory. With very short presentations, participants often report that they seem to “see” more than they can actually report.
The storage in sensory memory and short-term memory generally have a strictly limited capacity and duration, which means that information is available for a certain period of time, but is not retained indefinitely. By contrast, long-term memory can store much larger quantities of information for potentially unlimited duration (sometimes a whole life span). The capacity can also approach infinity (unlimited). For example, given a random seven-digit number, we may remember it for only a few seconds before forgetting, suggesting it was stored in our short-term memory. On the other hand, we can remember telephone numbers for many years through repetition; this information is said to be stored in long-term memory. (found on wikipedia.com)
After looking more into the meaning of ‘memory’ it has helped me understand about how I can relate it to certain areas of the media for my research.
Looking at Memory in relation to art
When considering ‘memory’ when discussing artists such as Pablo Picasso we should think about the idea that comes about for a piece of art.
The artist has a unique idea about what to paint, which is stored in their mind.
We, as observers use our ‘memory’ if something attracts us we like it ‘we remember it’. An artist could come up with an idea inspired by a ‘personal memory’, evolving an interest in the memory of observed and experienced events.
I was drawn to the painting ‘girl in a chemise’ at the Tate Modern as it inspired me and I remembered it, it created a story in my head which was stored in my ‘memory’.
When looking at the presence of ‘memory’ in art I came across an article which highlights this in an individuals work.
“To me photography functions as a fossilization of time,” says Tokyo-born
Hiroshi Sugimoto, who uses traditional photographic techniques to produce images that preserve memory and time. “I start feeling that this is the creation of the universe and I am witnessing it,” he says of his black-and-white seascapes. Sugimoto recalls the influence of Marcel Duchamp on his art, and especially on his own exhibition where he has mounted giant white plinths with photographs of 19th-century machines. These are juxtaposed with images of three-dimensional models that illustrate mathematical theories. “It’s not just a photography show,” he says, “It’s like a space sculpture.”
http://www.pbs.org/art21/series/seasonthree/memory.html
A transplant from New York, Susan Rothenberg produces paintings that reflect her move to an isolated home studio in New Mexico and her evolving interest in the memory of observed and experienced events. In her early career, she became noted for her series of large paintings of horses. Now, however, she does not find herself creating series. “The paintings are more of a battle to satisfy myself now and I don’t have a sense of series,” she says. Drawing on material from her daily life, she confesses that in her current work “the second painting seems to complete the series.” Sitting in her studio, Rothenberg speaks candidly about her working process and her occasional battles with artistic block.
http://www.pbs.org/art21/series/seasonthree/memory.html
Like I did with the other two themes I will now research how the theme of memory is present in television shows such as the ‘X Factor’.
Memory
The presence of ‘memory’ in television shows such as the X Factor works in many different ways. We ‘remember’ good or bad auditions as they have entertained us. The ‘theme tune’ that gets us going and is stored in our ‘memory’ so that we recognise the show when it is on and the advertising for it. At the end of each show we get a ‘taster’ of whats coming up the following week to keep us interested and store in our ‘memory’ for next week. Voice over is good tool that is used to spark our memory when previous archives of a different year are used to illustrate previous auditions.
Below is an article which defines how memory is illustrated through television.
Performing memory on television: documentary and the 1960s
Myra Macdonald
This article examines the performance of memory within British television documentaries that explore the 1960s. Taking ‘cultural memory’ as its theoretical frame, it investigates how the meaning of the sixties is negotiated in the interplay between witness memories, voice-over commentary and archive footage. The specificities of televisual codes and conventions in animating or constraining ‘memory work’ are examined through an analysis of various aspects of memory performance, including narrational style, bodily expressiveness, and physical location. These differing ways of performing memory are shown to struggle for authority against voice-over commentary and archive footage. Commentary, in addition to subordinating witness testimony, constructs an artificial distinction between forms of rebelliousness that were often interrelated in practice. The three categories of archive footage – film of music festivals and protest demonstrations, and excerpts from 1960s’ television or films – are demonstrated to exist in varying relations to individual memories. While music festival footage is largely detached from witness recollections, memories of protest demonstrations act principally as commentary on the archive film. Only the interleaving of individual memories and archive excerpts from television or fiction film grants more authority to the voices of witnesses, but even here memory work, as a process, remains bounded.
http://screen.oxfordjournals.org/cgi/content/abstract/47/3/327
How Memory is present in radio
Like I did with the other themes I will discuss how memory is present in radio. In radio shows the jingle in the show ‘triggers memory’. After every few songs presenters repeat earlier discussions ‘what went on earlier’. This is mainly so new listeners who have just tuned in can keep up with the show and old ones are reminded of what happened earlier.