Before movies, memory unspooled differently in the mind, trailing off in dust-blasted fade-out rather than spliced-together flashback; before photography, memory rippled like a reflection on water's surface, less precise but more profoundly true.
As an actor, you can't play a flashback; you can't play someone's memory. You just have to play each circumstance as if it was real and understand that person's point of view.
How we experience memory sometimes, it's not linear. We're not telling the stories to ourselves. We know the story; we're just seeing it in flashes overlaid.
I think I was driven to paint portraits to commit images of friends and family to memory. I have face blindness, and once a face is flattened out, I can remember it better.
England is a memory now. The gates are flooded and anybody can have access to England and join in.
Yom HaShoah is a vital day in the Jewish calendar, providing us with a focal point for our remembrance. We cannot bring the dead back to life, but we can bring their memory back to life and ensure they are not forgotten. We can undertake in our lives to do what they were so cruelly prevented from doing in theirs.
Two aged men, that had been foes for life, Met by a grave, and wept - and in those tears They washed away the memory of their strife; Then wept again the loss of all those years.
I'm interested in memory because it's a filter through which we see our lives, and because it's foggy and obscure, the opportunities for self-deception are there. In the end, as a writer, I'm more interested in what people tell themselves happened rather than what actually happened.
Virtual Self' was me trying to paint a picture of a very foggy, distorted memory that I had of electronic music on the internet.
Low-cost, high-grade coal, oil and natural gas - the backbone of the Industrial Revolution - will be a distant memory by 2050. Much higher-cost remnants will still be available, but they will not be able to drive our growth, our population and, most critically, our food supply as before.
My favorite memory from school was going to football games with my friends. We always had so much spirit and dressed up to go to the games, even though our team was pretty bad.
I meet with retired football players. Some are well-dressed, some are well-spoken, but when you talk to them personally, they will admit to you that they are having problems. But they are managing their problems. They have impaired memory, they're having mood problems. They are being treated by their psychiatrists.
Of course, the attacking players get the attention because they score the goals, score nice goals, and those are the moments that remain in memory. But I wish that other players who are not in the foreground, who still perform well for their club or association, get more recognition.
Let the past be content with itself, for man needs forgetfulness as well as memory.
I've a grand memory for forgetting.
I like the fact that by mimicking the way memory works, a writer can actually write in a fluid way - one solid scene doesn't have to fall on another solid scene, you can just have a fragment that then dovetails into another one that took place 30 years apart from it.
I think one of the primary themes in my work is the paradox of memory, at once fundamental to our sense of who we are and yet elusive, ever-changing, fragmentary. One way to look at this is to say that, therefore, we ourselves are elusive, ever-changing and fragmentary to ourselves.
My first memory of the Garden, it's probably like any other kid in New York: it's either watching the Knicks win the championship or Muhammed Ali against Joe Frazier.
The voice is raised, and that is where poetry begins. And even today, in the prolonged aftermath of modernism, in places where 'open form' or free verse is the orthodoxy, you will find a memory of that raising of the voice in the term 'heightened speech.'
Institutional memory is important in any organization, but so are fresh ideas.
