|
|
|
|
|
Visual |
Aural |
Audio |
|
External memory |
Internal memory,
mnemonic |
Cultural memory |
|
Analytic, logical |
Wholistic,
analogical |
Gestalt, symbol,
image |
|
Detached, objective |
Involved, subjective, "Agonistically
toned" |
Resonance or
avoidance |
|
Words are
inanimate, pointers |
Words have power,
are events in themselves (naming) |
Brand names have
iconic power and associations |
|
Linear time ---
> spatial |
Cyclic time ---
> repetitive |
Cyclic templates
& formats |
|
Self-object
detachment |
Integrative |
Demographic markets |
|
Abstract concepts
& categories |
Situational,
concrete experience (life-world) |
Life-world
problem -> solution |
|
Compact, edited,
linear |
Redundant,
copious, additive |
Sound-byte,
repetitive |
|
Originality, new
ideas |
Conservative,
homeostatic, traditional |
Turnover of
new "improved" products |
Other References:
Eric Havelock: Preface to Plato
Jack Goody: The Domestication of the Savage Mind
Harold Innis: Empire and Communication
Marshall McLuhan: Understanding Media
Frances Yates: The Art of MemoryRoman text: Ad Herennium (1st c. BC):Memory for places (loci) easily grasped by the memory; well-lit, moderate size, uncrowded, distinctive, clear order
Images are forms, marks, simulacra, placed on definite loci; images for things (res), images for words (verba); distinct, unusual and striking images are preferred (richly adorned, comic, hideous, etc); creating a "persona" (per-sona); repetition is needed to fix it in memory
"The art of memory was a creator of imagery which must surely have flowed out into creative works of art and literature" (p.100)

