Thursday, June 12, 2003

"The fact is that we are not even masters of our own conscious memory. What we remember and what we do not is subject to an emotional control, which follows a simple principle. If a given impression has emotional meaning we learn it. If it does not trigger emotional response it is not learned. In this case amygdala works as a kind of ‘emotiometer’, which regulates hippocampus and conscious learning. This serves a purpose: to economise the resources with regard to what to learn. So, if you want someone to remember what you say, make sure that it has emotional meaning for the person who has to remember it."(elearningpost: June 11/2003 via Learning Circuits)

"This is a spooky, melancholy work, merely 65 minutes in length but concentrated in its intentions, Beckett-like in its ellipses (though largely without Beckett's wry and painful humor) and finely layered with suggestions that performing is remembering, that remembering is itself living, that the stage is no less than the world. It's redolent of the implicit passion of 20th-century French intellectualism. (Duras died in 1996.) You won't be surprised that a recording of Édith Piaf is involved"(NYTimes:THEATER REVIEW | 'SAVANNAH BAY' Women, Embracing Across Generations, Find Life in Memory By BRUCE WEBER)