The Concept Of Sense Memory

Holladay, April. "How Does Human Memory Work?" How Does Human Memory Work? USATODAY.com, 15 Apr. 2007. Web. 04 October 2015.

There are six senses in total and these are known as languages of the mind, or ‘modalities’. These are Sight, hearing, feeling, smell and taste, although the last two can be put into the ‘feeling’ category. We use all of our senses in a particular situation but all of us will have a favourite which we are more comfortable with and are likely to fall back on in times of crisis. (Chrysalis pg. 4)

One of these points is the link between television shows and social lives. The feelings we have of forgetting character’s names and plot lines relates to a similar feeling in real life, according to cognitive scientist Richard Gerrig, who says “Being able to keep track of plots and characters is the same as keeping track of our friends’ lives.” Gerrig’s statement also helps Jurgensen’s article by bringing scientific and cultural realms together, and interlinking the psychology of reality with a casual event.

Sense perception is a way to gain information by using our sense: touch, feel, taste, see, hear, and smell, it is a way of knowing. When it comes to ways of knowing, like sense perception, it is questionable whether or not it affects us in a positive or negative way. It can be argued if it is leading us in the wrong direction. If you see it, do you believe it?

The reason why human senses are important is because in order to create the physical world, you have to have senses. If we didn’t have the senses we have, then we wouldn’t be able to say anything about the world we live in. “Senses, reason, logic, or laws of science— that which enables us to create science and technology and to understand the concrete, the physical world. Intuition—that which enables us to know the existence of our own souls and their relation to a reality beyond the physical world and to understand the abstract. The faculty of knowing without relying solely on the senses. Concrete—having physical, material reality which can be perceived by the senses. Abstract—not having physical, material reality, is not perceivable by the senses.” The words in

Mihailova spends about three pages discussing how motion capture has defamiliarized the concept of acting, specifically as how it relates to Serkis’ performance as Gollum. Not only is her argument here interesting and worthy of attention, it also contributes to her overall argument and application of Formalism. Motion capture is a wonderful defamiliarization tool, as she has illustrated in the article; this technology does lead the defamiliarization of other things as well, such as acting.

Stanislavski's framework is a movement of methods used to prepare on-screen characters and on-screen characters to attract credible feelings to their exhibitions. The strategy that was initially made and utilized by Constantin Stanislavski from 1911 to 1916 was in view of the idea of enthusiastic memory for which a performer concentrates inside to depict a character's feelings in front of an audience. Later, somewhere around 1934 and 1938, this strategy developed to a strategy for physical activities in which feelings are delivered through the utilization of these actions.The recent procedure is alluded to as Stanislavski's framework. This methodology was created by Constantin Stanislavski, a Russian performer, executive, and theater director at the Moscow Workmanship Theater . The framework is the consequence of Stanislavski's numerous years of endeavors to decide how somebody can

Your work must always remain alive in the moment. And there are many kinds of exercises I will be presenting in the Listening series that can help you build this skill. In Listening Part 2, I explore the importance of not only opening your eyes to observe, but equally important, is opening your ears to listen. One of the striking truths in acting is that you will continuously be searching under the surface for the subtext. Listening involves this kind of inquiry.

The two concepts that I resonated with are Memory and the Psychodynamic theory. Starting with the Psychodynamic theory is an approach to psychology that studies the psychological forces underlying human behavior, feelings, and emotions, and how they may relate to early childhood experience. This theory is most closely associated with the work of Sigmund Freud, and with psychoanalysis, a type of psychotherapy that attempts to explore the patient’s unconscious thoughts and emotions so that the person is better able to understand him or herself. The second one is Memory; understanding how memory works will help you improves your memory. Which is an essential key to attaining knowledge. Memory is one of the important cognitive processes. Memory involves remembering and forgetting. I chose the two concepts because throughout the class they stood out to the most. Understanding the conscious, subconscious mind and also memory. I’m interested in understanding the human behavior.

The conception of cinema has provided the world with a new art form. Its combination of theatrical and photographic elements, coupled with nuances built of itself, creates pieces of artwork matchless to the art forms before it. For film is too photographic to be considered comparable to theatre and too theatrical to be comparable to photography. The invention of film fulfils some of the limitations of both these mediums and opens possibilities that defines itself as its own artwork, which is ingested by its audience in a more holistic way.

The notion that film functions rhetorically is hardly novel, and, indeed, there is a long tradition of film criticism within rhetorical studies.5 Historically, the rhetorical criticism of film has tended to focus on the representational aspects of cinema, attending to how films compel audiences at a cognitive rather than corporeal level. But more recently, scholars in an array of fields (Kennedy, 2000; MacDougall, 2006; Massumi, 2002; Shaviro, 1993; Sobchack, 1995, 2004) have begun to consider how cinema appeals directly to the senses, how it sways viewers somatically as well as symbolically. Attention to the body corresponds closely to the affective (re)turn in rhetorical studies,6 for conceptualizing rhetoric as embodied necessarily “reflects a merger of reason and emotion” (McKerrow, 1998, p. 322; see also Johnson, 2007). Rhetorical

Stanislavsky wrote three novels that discuss his acting method; An Actor Prepares, Building a Character, and Creating a Role. These books are from the perspective of a

In acting or with guided imagery, transference in part, is communication between entities. Hagen (1991) emphasized the importance of imagination and application of transferences with the character. An actor increases their ability to be open to other actors because of a sensitivity of transference; creating a meaning in a story. An actor’s training can expose him or her to multiple realities which may enable one to gain greater awareness while in a guided imagery experience.

If an engaging performance is dependant on effective communication between director and actor, then studying what an actor needs communicated to him by the director will ensure the actor understands the

Constantin Stanislavski believed that it was essential for actors to inhabit authentic emotion on stage so the actors could draw upon feelings one may have experienced in their own lives, thus making the performance more real and truthful. Stanislavski then created the technique, method acting, to do exactly that. Not only can method acting be rewarding, there are psychological consequences as well. It is important to study method acting so actors can know the dangers and psychological effects it can create. It can also help scientists understand theory of mind; the ability to gain the mindset of another person. Another subject method acting can help with is emotional recall and the emotion regulation it takes to use