A Short[er] Footnote on Expressionist Memory

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I know, I know - “Surely he has beaten this idea to death!”  But not quite.

It strikes me that I might have left you with the idea that expressionist memory is a naturally occurring phenomenon.  That is only partially true.  Memory is a naturally occurring phenomenon - expressionist memory requires some work on our part.  In this way it is similar to lucid dreaming. Dreaming seems to be a naturally occurring phenomenon - normally, we dream whether we choose to dream or not. Lucid dreaming builds on that phenomenon. Wikipedia asserts that "A lucid dream is any dream during which the dreamer is aware that they are dreaming. During lucid dreaming, the dreamer may be able to exert some degree of control over the dream characters, narrative, and environment.” [http://bit.ly/2bKt37K].  We also exert a degree of control in the construction of expressionist memories. 

Expressionist memories are central to our construction of the beliefs that define reality. Hence they need to be consistent with our beliefs regarding the nature of existence. For me, that means my expressionist memories must be consistent with the four basic tenets of Distilled Harmony [www.distilledharmony.com]: Foster Harmony, Enable Beauty, Distill Complexity, and Oppose Harm.  So my expressionist memories form in part by discarding those portions of hyperthymesiatic recall that are conflict with those tenets of Distilled Harmony. 

Yes, I realize that implies an intentional distortion of “the reality experienced.” But what kind of memory doesn’t do that? Yes, hyperthymesiatic memory that traps one in a freeze frame high definition of what “really” happened. And is also often seen as an abnormal characteristic, if not a condition bordering on a disease.  More normal memories fade over time, leaving the peaks and valleys. In constructing intentional expressionist memories I seek to hold to the peaks, discarding the valleys.

But here is an important distinction - I said discarding the valleys, not repressing them.  John’s [14:2] assertion that we live in a reality with many mansions, is only one of many admissions across belief systems, philosophies and scientific schemes that asserts that we are inclined to compartmentalize our lives. One of the drawings in my coloring book [http://amzn.to/2bQdhFw] started out as a sort of Route 66 old motel, but then got hijacked by a herd of rogue eggplants. OK, strange, but the idea of bits of life poised behind many different doors remains: 

That complexity is just fine - it is what makes us human, interesting, complex.  But if we repress the valleys of recalled experiences, we are merely hiding them away in a room we ignore. They can fester there, eventually rotting the foundations of our reality to such an extent that the whole thing can come crashing down around our ears, landing us in a padded room, or on a very expensive couch in a office with potted plants and soft music.

Discarding is a conscious act of elimination.  It is not so much a “Get away! Get away! Get in that room!” Slam. Now I walk away leaving you locked up in there” scenario, as it is a “Been there, done that. Let me show you the door. Good byeeeeeeeeee!” kind of thing.

To go back to the expressionist painting analogy - which is after all, where I stole the whole idea of expressionist memory - expressionist memories are the palettes from which we paint our lives. We choose the dominant hues of that composition.  I choose calm and pleasing colors.

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