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• W2000946210 abstract "conventionally tend to regard the work of fiction as being the polar opposite of of nonfiction. see the one as a story, a fabrication of fantasy, the other as a record of fact. Both however inevitably result out of the fictive act; the act of creating fragile structures in the mind which serve to make sense of things, which cause our interpretations and understandings of reality to present themselves. Both are inevitably what Paul Valery, the French poet and aesthetic philosopher, terms, works of the mind, and as such they belong to that class of which the mind makes for its own use. Both are works, rather than productions. In composing fictions and non-fictions alike our conscious action is that of making rather than that of matching, and in common with all other of the mind they not reproduce the visible, rather they make visible.'1 Friedrich Nietzsche has said that What can be thought must certainly be a fiction. think fictively, give shape to content, and the act of fiction may in these terms be seen as analogous to the act of thought itself. The fictive nature and quality of our thinking gives form to meaning and expression to and the different classes of fictive work may be seen as a general system through which our thinking becomes expressed. Our thinking and the fictive nature of our thoughts results from our conscious combination and recombination of memories. We never come to thoughts, they come to us, and that is why thinking holds to the coming of what has been and is remembrance.92 If thinking can be seen to by synonymous with remembrance, how then do we think? Alfred North Whitehead, speaking about the movement of a thought from the state of the unknown to the state of the known-from Silence to Light in Louis Kahn's terms-sees the thought as moving through three distinct stages or modes: the stage of discovery, the stage of isolation and the stage of concentration. The general action which seems to lie at the base of our mode of thinking is that of the framing of distinctions of two kinds. distinguish between and that in the first place, and then frame distinctions between and this. Our use of these two very specific distinction types relates directly to our modes of thinking in the discovery-isolation-concentration sequence, and consequently to the two general classes of memory we must manipulate. The nature and quality of these distinct memory types will, if we realize them, allow us to understand the nature of these two distinctive acts we use in thinking a thought, in shaping content. When we frame distinctions of the type, we work with memories, ideas and facts which are non-synonymous, which differ in both their form and their meaning, their shape and their content. These memories have the characteristic of singularity, of particularity, of difference. In composing a thought we exploit characteristic of difference; we resolve the ambiguities latent in the signs of our inner language, discover new similarities, seemingly invisible connections. The Theory of Relativity, its fiction, was generated when an ambiguity between the concepts gravity and light was perceived and resolved. Differences came to be seen as similarities, and a new and powerful fiction emerged. Synonymous memories, on the other hand, possess characteristics of similarity. Their particular forms may differ, but the meaning they express remains constant; they exist as different shapes of the same content. Existing as distinctions between this and this, they belong to the realm of the analogous and the metaphorical. In giving shape to content, in expressing our thoughts, we exploit the similarities existing between synonymous expressions rather than their differences. use the device of the analog and the metaphor, rather than that of the latent ambiguity. The Theory of Relativity was first expressed in the inner language of the mathematician. In order to make it generally understood, it was re-stated in terms of accelerating elevators, moving trains and stationary observers, moving tramcars and moving pedestrians-that is, using familiar analogous relationships. The two distinct classes of memory, therefore, can be seen to have specific characteristics of use in our process of framing a thought; and the degrees of relationship between the intellectual shapes of the incept, the concept and the percept and the this-that and this-this distinctions are clearly evident. The word comes to us almost directly and with very little modification from the Latin word historia. Its Latin meaning is narrative, story or account. While the Latin shape historia is very close to that of our present shape history, the content it carries has been modified. In modern terms we tend to see history as fact rather than as the fiction which its original content implies. If we dig deeper into history's past, into the evolving morphology of its particular shape, we find that the Latin word has been generated by a complex of interconnections between the related memories and fragments of its Greek roots. The common ontent of these related fragments is the Greek form idea, which represents the notions of form, look, semblance, shape, and which is the common root of our present words idea and vision and their derivatives." @default.
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• W2000946210 date "1980-09-01" @default.
• W2000946210 modified "2023-09-24" @default.
• W2000946210 title "Matrix of Memory" @default.
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• W2000946210 doi "https://doi.org/10.1080/10464883.1980.10758631" @default.
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