(In)Voluntary Memory

Abstract

The hypothesis of the imaginative consciousness is radically different from the hypothesis of a consciousness of the real. This means that the type of existence of the object of the image, as long as it is imagined, differs in nature from the type of existence of the object grasped as real. --Jean-Paul Sartre, The Psychology of Imagination While in residence at Visual Studies Workshop in May 2015, began work on a new series titled (In)Voluntary Memory. Using other people's words in conjunction with my photographic images, am exploring the dilemma of divided historical loyalties. The art of collaboration, here, is not a bridge between divided historical loyalties. It is a meeting along a familiar path in an unfamiliar place. The familiar path is recognition; the unfamiliar place is cognition. For instance, when two people recognize each other, their visages cross gazes, and they think, I know and I see you; they are noticing a familiar history in an unfamiliar face. As the new face is cognized, their own history is recognized. [ILLUSTRATION OMITTED] In this process, render the particulars of memory no longer necessarily poignant or relevant. rewrite memory utilizing place (other people's words and my images) to focus on the path (the feeling of the two in conjunction). The new placement inevitably acquires a history, and can soon become recognizable and familiar; it can even become a real memory. The following is an excerpt from the letter sent family and friends inviting them to collaborate on the project: Enclosed you will find two images. One is from a memory that hold of our past. Another is a random image that could have some link to our past or none at all. You may respond to one or both images. would like you to share with me whatever memories arise from these images. They may relate to me, but they do not have to. The response can be in the form of a handwritten or typed letter. It can take any written form you choose (formal letter, free verse, poem). You may reply via email. have enclosed a self-addressed stamped envelope if you prefer to send your response via USPS. [ILLUSTRATION OMITTED] [ILLUSTRATION OMITTED] As the replies trickled in, discovered that most people chose to respond to the random image. have decided that the shared memory acts as a trigger, leading to an unfolding of memories that are then attached to the random image. What is most intriguing to me is how vivid the recollections are, which reinforces my notion of acquired history. received letters, a poem, and photographs, which were all displayed in pairs (originals with responses) in the project space at VSW. ended up asking people who replied via email to send a handwritten letter to me, because in this form the letter became a visual object as well. plan to produce a book of all the responses. For this issue of Afterimage, my initial images have been paired with my colleague Ashwin Manthripragada's poems. was drawn to his research, which explores the definition of self and other. We found that our pieces easily wove together. The following is an excerpt from our conversations surrounding the project. [ILLUSTRATION OMITTED] Alysia Kaplan: was thinking about borders. …