Memorial Marker Quotes

I will have spent my life trying to understand the function of remembering, which is not the opposite of forgetting, but rather its lining. We do not remember. We rewrite memory much as history is rewritten. How can one remember thirst?

Note: 'family' does NOT only mean a biological unit composed of people who share genetic markers or legal bonds, headed by a heterosexual-mated pair. Family is much, much more than that.

Nothing sorts out memories from ordinary moments. It is only later that they claim remembrance, when they show their scars.

He liked the fragility of those moments suspended in time. Those memories whose only function is to leave just a trace in memory.

memory is linked to strong emotion, and that negative moments are like scribbling with permanent marker on the wall of the brain. But there’s a fine line between a negative moment and a traumatic one. Negative moments get remembered. Traumatic ones get forgotten, or so warped that they are unrecognizable,

Nothing distinguishes memories from ordinary moments. Only later do they make themselves known, from their scars. - Chris Marker

Humans are animals and like all animals we leave tracks as we walk: signs of passage made in snow, sand, mud, grass, dew, earth or moss.... We easily forget that we are track-markers, through, because most of our journeys now occur on asphalt and concrete--and these are substances not easily impressed.

[M]ost people go through life a wee bit disappointed in themselves. I think we all keep a memory of a moment when we missed someone or something, when we could have gone down another path, a happier or better or just a different path. Just because they're in the past doesn't mean you can't treasure the possibilities ... maybe we put down a marker for another time. And now's the time. Now we can do whatever we want to do.

Children, only animals live entirely in the Here and Now. Only nature knows neither memory nor history. But man - let me offer you a definition - is the storytelling animal. Wherever he goes he wants to leave behind not a chaotic wake, not an empty space, but the comforting marker-buoys and trail-signs of stories. He has to go on telling stories. He has to keep on making them up. As long as there's a story, it's all right. Even in his last moments, it's said, in the split second of a fatal fall - or when he's about to drown - he sees, passing rapidly before him, the story of his whole life.

It is always worth itemizing happiness, there is so much of the other thing in a life, you had better put down the markers of happiness while you can.

Each person is born with an unencumbered spot, free of expectation and regret, free of ambition and embarrassment, free of fear and worry; an umbilical spot of grace where we were each first touched by God. It is this spot of grace that issues peace. Psychologists call this spot the Psyche, Theologians call it the Soul, Jung calls it the Seat of the Unconscious, Hindu masters call it Atman, Buddhists call it Dharma, Rilke calls it Inwardness, Sufis call it Qalb, and Jesus calls it the Center of our Love. To know this spot of Inwardness is to know who we are, not by surface markers of identity, not by where we work or what we wear or how we like to be addressed, but by feeling our place in relation to the Infinite and by inhabiting it. This is a hard lifelong task, for the nature of becoming is a constant filming over of where we begin, while the nature of being is a constant erosion of what is not essential. Each of us lives in the midst of this ongoing tension, growing tarnished or covered over, only to be worn back to that incorruptible spot of grace at our core. When the film is worn through, we have moments of enlightenment, moments of wholeness, moments of Satori as the Zen sages term it, moments of clear living when inner meets outer, moments of full integrity of being, moments of complete Oneness. And whether the film is a veil of culture, of memory, of mental or religious training, of trauma or sophistication, the removal of that film and the restoration of that timeless spot of grace is the goal of all therapy and education. Regardless of subject matter, this is the only thing worth teaching: how to uncover that original center and how to live there once it is restored. We call the filming over a deadening of heart, and the process of return, whether brought about through suffering or love, is how we unlearn our way back to God

memory is linked to strong emotion, and that negative moments are like scribbling with permanent marker on the wall of the brain. But there’s a fine line between a negative moment and a traumatic one. Negative moments get remembered. Traumatic ones get forgotten, or so warped that they are unrecognizable, or else they turn into the big, bleak, white nothing I get in my head when I try to focus on that night.

Nothing distinguishes memories from ordinary moments, only later do they make themselves known, from their scars.

Things in the margins, including humans who wander there, are often on the brink of becoming someone else, or something else, whose memory may not include the significance of old markers.

He liked the fragility of those moments suspended in time. Those memories whose only function had been to leave behind nothing but memories. He wrote: I’ve been round the world several times and now only banality still interests me. On this trip I’ve tracked it with the relentlessness of a bounty hunter. At dawn we’ll be in Tokyo.

Children, only animals live entirely in the Here and Now. Only nature knows neither memory nor history. But man – let me offer you a definition – is the story-telling animal. Wherever he goes he wants to leave behind not a chaotic wake, not an empty space, but the comforting marker-buoys and trail-signs of stories. He has to go on telling stories, he has to keep on making them up. As long as there’s a story, it’s all right. Even in his last moments, it’s said, in the split second of a fatal fall – or when he’s about to drown – he sees, passing rapidly before him, the story of his whole life.

Does being forced to sit in time-out ever make little kids stop putting cats in the dishwasher or drawing on white walls with purple marker? Of course not. It teaches them to be sneaky and guarantees that when they get to high school they’ll love detention because it’s a great place to sleep.

memory is linked to strong emotion, and that negative moments are like scribbling with permanent marker on the wall of the brain.

A home, decorated with markers of the life she’s lived, the material evidence of memory.

They don't engrave memories on markers, for only we who are left behind can truly tell the story of a life

Her official published findings were that memory is linked to strong emotion, and that negative moments are like scribbling with permanent marker on the wall of the brain.

When autumn gusts blew in from the Rideau Lakes, parched brown leaves swirled and scattered around the sides of the neglected building, forming mounds like grave-markers, for ghosts of the past, who lingered on the dust-covered dance floor.

Fact was, she just wasn’t that same person anymore. Her remaining scar was a reminder of that, like an ex-smoker who kept a pack of cigarettes somewhere as proof she was stronger than that. It was a badge of honor and a marker place for where she was in her life right now. And as it turned out, memories—the good, the bad, and the ugly—really were what made a person.

When someone dies, we spend so much time looking for an explanation. The rest of the time we spend making sure we won't forget them. So we build statues. Hold memorials. Visit graves. All of these physical markers that make it impossible to forget. But what if it's the opposite? What if the only way we can really remember is if we stop looking to the past? Maybe then they'll become more them and less us.

The plane banked, and he pressed his face against the cold window. The ocean tilted up to meet him, its dark surface studded with points of light that looked like constellations, fallen stars. The tourist sitting next to him asked him what they were. Nathan explained that the bright lights marked the boundaries of the ocean cemeteries. The lights that were fainter were memory buoys. They were the equivalent of tombstones on land: they marked the actual graves. While he was talking he noticed scratch-marks on the water, hundreds of white gashes, and suddenly the captain's voice, crackling over the intercom, interrupted him. The ships they could see on the right side of the aircraft were returning from a rehearsal for the service of remembrance that was held on the ocean every year. Towards the end of the week, in case they hadn't realised, a unique festival was due to take place in Moon Beach. It was known as the Day of the Dead... ...When he was young, it had been one of the days he most looked forward to. Yvonne would come and stay, and she'd always bring a fish with her, a huge fish freshly caught on the ocean, and she'd gut it on the kitchen table. Fish should be eaten, she'd said, because fish were the guardians of the soul, and she was so powerful in her belief that nobody dared to disagree. He remembered how the fish lay gaping on its bed of newspaper, the flesh dark-red and subtly ribbed where it was split in half, and Yvonne with her sleeves rolled back and her wrists dipped in blood that smelt of tin. It was a day that abounded in peculiar traditions. Pass any candy store in the city and there'd be marzipan skulls and sugar fish and little white chocolate bones for 5 cents each. Pass any bakery and you'd see cakes slathered in blue icing, cakes sprinkled with sea-salt.If you made a Day of the Dead cake at home you always hid a coin in it, and the person who found it was supposed to live forever. Once, when she was four, Georgia had swallowed the coin and almost choked. It was still one of her favourite stories about herself. In the afternoon, there'd be costume parties. You dressed up as Lazarus or Frankenstein, or you went as one of your dead relations. Or, if you couldn't think of anything else, you just wore something blue because that was the colour you went when you were buried at the bottom of the ocean. And everywhere there were bowls of candy and slices of special home-made Day of the Dead cake. Nobody's mother ever got it right. You always had to spit it out and shove it down the back of some chair. Later, when it grew dark, a fleet of ships would set sail for the ocean cemeteries, and the remembrance service would be held. Lying awake in his room, he'd imagine the boats rocking the the priest's voice pushed and pulled by the wind. And then, later still, after the boats had gone, the dead would rise from the ocean bed and walk on the water. They gathered the flowers that had been left as offerings, they blew the floating candles out. Smoke that smelt of churches poured from the wicks, drifted over the slowly heaving ocean, hid their feet. It was a night of strange occurrences. It was the night that everyone was Jesus... ...Thousands drove in for the celebrations. All Friday night the streets would be packed with people dressed head to toe in blue. Sometimes they painted their hands and faces too. Sometimes they dyed their hair. That was what you did in Moon Beach. Turned blue once a year. And then, sooner or later, you turned blue forever.

And then there are colors. The truth is that the brain knows far less about colors than one might suppose. It sees more or less clearly what the eyes show it, but when it comes to converting what it has seen into knowledge, it often suffers from one might call difficulties in orientation. Thanks to the unconscious confidence of a lifetime's experience, it unhesitatingly utters the names of the colors it calls elementary and complementary, but it immediately lost, perplexed and uncertain when it tries to formulate words that might serve as labels or explanatory markers for the things that verge on the ineffable, that border on the incommunicable, for the still nascent color which, with the eyes' other bemused approval and complicity, the hands and fingers are in the process of inventing and which will probably never even have its own name. Or perhaps it already does -- a name known only to the hands, because they mixed the paint as if they were dismantling the constituent parts of a note of music, because they became smeared with the color and kept the stain deep inside the dermis, and because only with the invisible knowledge of the fingers will one ever be able to paint the infinite fabric of dreams. Trusting in what the eyes believe they have seen, the brain-in-the-head states that, depending on conditions of light and shade, on the presence or absence of wind, on whether it is wet or dry, the beach is white or yellow or olden or gray or purple or any other shade in between, but then along comes the fingers and, with a gesture of gathering in, as if harvesting a wheat field, they pluck from the ground all the colors of the world. What seemed unique was plural, what is plural will become more so. It is equally true, though, that in the exultant flash of a single tone or shade, or in its musical modulation, all the other tones and shades are also present and alive, both the tones or shades of colors that have already been name, as well as those awaiting names, just as an apparently smooth, flat surface can both conceal and display the traces of everything ever experience in the history of the world. All archaeology of matter is an archaeology of humanity. What this clay hides and shows is the passage of a being through time and space, the marks left by fingers, the scratches left by fingernails, the ashes and the charred logs of burned-out bonfires, our bones and those of others, the endlessly bifurcating paths disappearing off into the distance and merging with each other. This grain on the surface is a memory, this depression the mark left by a recumbent body. The brain asked a question and made a request, the hand answered and acted.

On one occasion when she was feeling edgy and exhausted and her cartilage ached the way it sometimes did, she stopped off at the memorial park on her way home. It was the biggest public open space in the country. She drove up and down the long rows of granite grave markers set flush to the grass singing, “If you are going to San Francisco,” thinking about smothering Byrdie and taking the car and just running away. Her life could start over as it was meant to start – but how was that, pray tell? As a lesbian? What about those two or three months of fixation on sleeping with Lee? Is that what lesbians do? She looked back at Byrdie asleep on the back bench seat and said, “Byrdie boy, I love you so much.

She opened her eyes slowly and saw that a pale lavender moth had come to a rest on the back of her hand. She watched it from her pillow, wondering if it was real. It reminded her of her husband Matt's favorite T-shirt, which she'd hidden in a bag of sewing, unable to throw it away. It had a large faded moth on the front, the logo of a cover band out of Athens called the Mothballs. That T-shirt, that moth, always brought back a strange memory of when she was a child. She used to draw tattoos of butterflies on her arms with Magic Markers. She would give them names, talk to them, carefully fill in their colors when they started to fade. When the time came that they wanted to be set free, she would blow on them and they would come to life, peeling away from her skin and flying away.

You think of me that way because you look at me and at what I do through the lens of your mundane understanding of the world. Mundane humans create distinctions between themselves, distinctions that seem ridiculous to any Shadowhunter. Their distinctions are based on race, religion, nation identity, any of a dozen more irrelevant markers, To mundanes they seem logical, for though mundanes connote see, understand, or acknowledge the demon worlds, still somewhere found buried in their ancient memories, they know that there are those that walk this earth and are other. That do not belong, that mean only harm and destruction. Since the demon threat is invisible to mundanes, they must assign the threat to others of their own kind. They place the face of their enemy onto the face of their neighbor, and thus are generations of misery assured.

She wrote his name on a piece of paper and lit it with a match. The letters curled as they turned dark and misshapen until she didn’t recognize them. They were figments of something that she had done in her past, lost into some other form of existence. Where did the letters go now? She tried to find traces within the ash of some resemblance of what used to be. She dug down, her fingers turning black and gray like the depths of her. He was gone. Gone. What was she left with but ashes and darkness once the light of the flame went out? The smell of smoke lingered like a memory of him. Was this the end or could she write a new word? Not a new name, not his name, but could she call a new word into existence? A new piece of HER; a new reason for her existence? Picking up the permanent marker, Amy placed it in her pocket for later. Ashes blow in the creek bed and blend with the stream, moving down like sand in an hourglass.

That summer I had met three children on a road and a volcano had come out of the sea. The American astronauts came to train before flying off to the moon, in this corner of Earth that resembles it. I saw it immediately as a setting for science fiction: the landscape of another planet. Or rather no, let it be the landscape of our own planet for someone who comes from elsewhere, from very far away. I imagine him moving slowly, heavily, about the volcanic soil that sticks to the soles. All of a sudden he stumbles, and the next step it’s a year later. He’s walking on a small path near the Dutch border along a sea bird sanctuary. That’s for a start. Now why this cut in time, this connection of memories? That’s just it, he can’t understand. He hasn’t come from another planet he comes from our future, four thousand and one: the time when the human brain has reached the era of full employment. Everything works to perfection, all that we allow to slumber, including memory. Logical consequence: total recall is memory anesthetized. After so many stories of men who had lost their memory, here is the story of one who has lost forgetting, and who—through some peculiarity of his nature—instead of drawing pride from the fact and scorning mankind of the past and its shadows, turned to it first with curiosity and then with compassion. In the world he comes from, to call forth a vision, to be moved by a portrait, to tremble at the sound of music, can only be signs of a long and painful pre-history. He wants to understand. He feels these infirmities of time like an injustice, and he reacts to that injustice like Ché Guevara, like the youth of the sixties, with indignation. He is a Third Worlder of time. The idea that unhappiness had existed in his planet’s past is as unbearable to him as to them the existence of poverty in their present.

The rose is a symbol of the inner mysteries of Witchcraft. A red rose symbolizes the mysteries as they reside in Nature, within the living things. The white rose symbolizes the Otherworld and the mysteries hidden in secret places. When a single rose appears with white petals in the center of red petals, this represents the mysteries joined together within one reality. Thorns appearing with the rose represent challenges and the dedication required to fully grasp the enlightenment of the rose. One of the symbolisms associated with the rose reveals the covenant between the Witch and the Faery. In this, we find that both are stewards of the portal that opens to the inner mysteries. The Faery holds the celestial key, and the Witch bears the terrestrial key. When the two are joined together, they form an X—the sign of the crossroads. In this formation, where the keys cross we find a third point, the in-between place at the center. This is where the portal exists, and this is where it opens between the worlds. Look at the shape of the X and you can see four pointed tip markers (the V shapes). The upper half of the X points down, and the lower half points up. On the sides of the X, you can see that the left and right halves point to the center. This shows us that when the celestial and terrestrial realms join, they pull together the left ways and the right ways. These are occult terms for esoteric and exoteric modes of consciousness. In the fusion, everything briefly loses its distinction, its ability to mask the opposite reality, and in doing so, the secret third reality emerges in the center of it all. If this sounds confusing or nonsensical, then the guardian of that portal is doing its job well. The material in this book will connect you with an entity connected to the rose and its mystery. This is the previously mentioned She of the Thorn-Blooded Rose. With her guidance, you can be directed to the portal, and through it you can meet a variety of beings and entities. However, her primary task is to connect you with the Greenwood Realm and the plant spirits within it. In your journey to encounter these spirits, you will pass through the organic memory of the earth. You'll walk upon roads of mystical concepts and be accompanied by the Old Ones of

... we decided to create a Nothing Place in the living room, it seemed necessary, because there are times when one needs to disappear while in the living room, and sometimes one simply wants to disappear, we made this zone slightly larger so that one of us could lie down in it, it was a rule that you never would look at that rectangle of space, it didn't exist, and when you were in it, neither did you, for a while that was enough, but only for a while, we required more rules, on our second anniversary we marked off the entire guest room as a Nothing Place, it seemed like a good idea at the time, sometimes a small patch at the foot of the bed or a rectangle in the living room isn't enough privacy, the side of the door that faced the guest room was Nothing, the side that faced the hallway was Something, the knob that connected them was neither Something nor Nothing. The walls of the hallway were Nothing, even pictures need to disappear, especially pictures, but the hallway itself was Something, the bathtub was Nothing, the bathwater was Something, the hair on our bodies was Nothing, of course, but once it collected around the drain it was Something, we were trying to make our lives easier, trying, with all of our rules, to make life effortless. But a friction began to arise between Nothing and Something, in the morning the Nothing vase cast a Something shadow, like the memory of someone you've lost, what can you say about that, at night the Nothing light from the guest room spilled under the Nothing door and stained the Something hallway, there's nothing to say. It became difficult to navigate from Something to Something without accidentally walking through Nothing, and when Something—a key, a pen, a pocketwatch—was accidentally left in a Nothing Place, it never could be retrieved, that was an unspoken rule, like nearly all of our rules have been. There came a point, a year or two ago, when our apartment was more Nothing than Something, that in itself didn't have to be a problem, it could have been a good thing, it could have saved us. We got worse. I was sitting on the sofa in the second bedroom one afternoon, thinking and thinking and thinking, when I realized I was on a Something island. "How did I get here," I wondered, surrounded by Nothing, "and how can I get back?" The longer your mother and I lived together, the more we took each other's assumptions for granted, the less was said, the more misunderstood, I'd often remember having designated a space as Nothing when she was sure we had agreed that it was Something, our unspoken agreements led to disagreements, to suffering, I started to undress right in front of her, this was just a few months ago, and she said, "Thomas! What are you doing!" and I gestured, "I thought this was Nothing," covering myself with one of my daybooks, and she said, "It's Something!" We took the blueprint of our apartment from the hallway closet and taped it to the inside of the front door, with an orange and a green marker we separated Something from Nothing. "This is Something," we decided. "This is Nothing." "Something." "Something." "Nothing." "Something." "Nothing." "Nothing." "Nothing." Everything was forever fixed, there would be only peace and happiness, it wasn't until last night, our last night together, that the inevitable question finally arose, I told her, "Something," by covering her face with my hands and then lifting them like a marriage veil. "We must be." But I knew, in the most protected part of my heart, the truth.

There is no grave, no marker for any of them, yet they live in the memory of those who loved them. Selma left her poems, the spark of her vital personality, the fullness of her lively mind and the memory of Leiser, whom she adored. In the poem The Storm (March, 1941) Selma dwelled on the gentleness, the fragility of a rosebud and the expectation to see it open and bloom and about the precariousness of all life. The verse is her own epitaph: If now a frost comes - it dies, dies and has never lived its life.

Damasio and Bechara developed their ‘Somatic Marker Hypothesis’. According to this hypothesis, each event we store in memory comes bookmarked with the bodily sensations – Damasio and Bechara call these ‘somatic markers’ – we felt at the time of living through it for the first time; and these help us decide what to do when we find ourselves in a similar situation.

Each word that she left behind is precious, including the simple three I rediscovered a few days after Marina’s memorial service. Her long-forgotten note, scrawled with a dry-erase marker on the back of a BB&N book slip and left on my desk when she was visiting from college, simply read, “Marina was here!” Marina was here. Yes, she was, in so many ways. And with an exclamation point. My hope is that through this book and Marina’s many legacies, we may all still hear her and be inspired by how she used her fleeting time to be passionately, vibrantly, fully here. —Beth McNamara August 2014

There’s another level at which attention operates, this has to do with leadership, I argue that leaders need three kinds of focus, to be really effective, the first is an inner focus, let me tell you about a case that’s actually from the annals of neurology, there was a corporate lawyer, who unfortunately had a small prefrontal brain tumour, it was discovered early, operated successfully, after the surgery though it was a very puzzling picture, because he was absolutely as smart as he had been before, a very high IQ, no problem with attention or memory, but he couldn’t do his job anymore, he couldn’t do any job, in fact he ended up out of work, his wife left him, he lost his home, he’s living in his brother spare bedroom and in despair he went to see a famous neurologist named Antonio Damasio. Damasio specialized in the circuitry between the prefrontal area which is where we consciously pay attention to what matters now, where we make decisions, where we learn and the emotional centers in the midbrain, particularly the amygdala, which is our radar for danger, it triggers our strong emotions. They had cut the connection between the prefrontal area and emotional centers and Damasio at first was puzzled, he realized that this fellow on every neurological test was perfectly fine but something was wrong, then he got a clue, he asked the lawyer when should we have our next appointment and he realized the lawyer could give him the rational pros and cons of every hour for the next two weeks, but he didn’t know which is best. And Damasio says when we’re making a decision any decision, when to have the next appointment, should I leave my job for another one, what strategy should we follow, going into the future, should I marry this fellow compared to all the other fellows, those are decisions that require we draw on our entire life experience and the circuitry that collects that life experience is very base brain, it’s very ancient in the brain, and it has no direct connection to the part of the brain that thinks in words, it has very rich connectivity to the gastro- intestinal tract, to the gut, so we get a gut feeling, feels right, doesn’t feel right. Damasio calls them somatic markers, it’s a language of the body and the ability to tune into this is extremely important because this is valuable data too - they did a study of Californian entrepreneurs and asked them “how do you make your decisions?”, these are people who built a business from nothing to hundreds of millions or billions of dollars, and they more or less said the same strategy “I am a voracious gatherer of information, I want to see the numbers, but if it doesn’t feel right, I won’t go ahead with the deal”. They’re tuning into the gut feeling. I know someone, I grew up in farm region of California, the Central Valley and my high school had a rival high school in the next town and I met someone who went to the other high school, he was not a good student, he almost failed, came close to not graduating high school, he went to a two-year college, a community college, found his way into film, which he loved and got into a film school, in film school his student project caught the eye of a director, who asked him to become an assistant and he did so well at that the director arranged for him to direct his own film, someone else’s script, he did so well at that they let him direct a script that he had written and that film did surprisingly well, so the studio that financed that film said if you want to do another one, we will back you. And he, however, hated the way the studio edited the film, he felt he was a creative artist and they had butchered his art. He said I am gonna do the film on my own, I’m gonna finance it myself, everyone in the film business that he knew said this is a huge mistake, you shouldn’t do this, but he went ahead, then he ran out of money, had to go to eleven banks before he could get a loan, he managed to finish the film, you may have seen

In the Mission District of San Francisco, observant passersby can discover the heroic history behind a fire hydrant that sits on an otherwise ordinary sidewalk. In the wake of the 1906 earthquake that shook San Francisco, a great blaze swept through the city. Many of the water mains failed and other lines ran dry, but one hydrant continued to function. This bit of infrastructure is credited with saving the Mission District from total destruction. Today, the hydrant has been painted gold and its importance has been further memorialized with an adjacent plaque. The small marker tells a huge city-defining tale of tragedy and triumph and highlights a moment in time that reshaped a metropolis.

[F]orgetting takes multiple guises and sometimes infuses life in the most subtle and taken-for-granted ways. Therefore, forgetting consists not only of markers that indicate the erasure of knowledge, but also the habits, routines, and physical movements that lead one to present and practice detachment and hiding. It includes hiding the outward indicators of one’s religion. It is taking care when choosing one’s words in public, or even when speaking among family, so that the children will not learn what is supposed to be forgotten. Practicing these habits until they become ingrained and no longer require conscious attention makes forgetting a part of everyday life… In Ulaanbaatar (and the next-biggest city, Darkhan) the state built wedding palaces, thus making marriages and the establishment of families matters that came under state control. The alphabet, personal names, food, hairstyles, consumer goods, clothing, and fashions also changed due to the revolution. All this meant that the younger generations had little reference in everyday life from which to inquire about the past. When the memories of those belonging to an older generation contradicted the national narrative, there was little chance they would be heard by succeeding generations, whose ideological training and values conflicted with those of the past. “The erasure of socio-political context . . . allowed for the absorption of the particular (memories) into the general” (Steedly 1993:131), and furthered the homogenization of history and the nation. In a homogenizing society, to be a misfit, a reactionary, was not only a source of shame and public alienation, but also invited the threat of state intervention… Those of the next generation were born in the 1940s and 1950s, after most of the political massacres had been carried out. They grew up with socialist propaganda and were removed from the past, owing to the silencing of their parents’ memories and the dominance of the state’s narrative. The past seeped through to them accidentally, against the will of their parents… Often silences are a sign of powerlessness, not of the lack of a story to tell. As Tsing (1990:122) argues, power consists, at least in part, of the ability to convene an audience. According to Steedly (1993:198), this ability requires telling a compelling story that is strategically designed to meet the interests of the listeners.

Don’t become Google, and stop training your kids to be Google. You just need to be Google long enough to get something in working memory to create something beautiful. You just need to remember something, a marker, an index. You need to know how to use Google. If you know how to use Google, you can have a bad memory for the rest of your life, because the Internet is not going away.

Opening the box, they withdrew the thick plastic grave markers. His lips twitched as he scanned the epitaphs: R.I.P. Van Winkle, Dee Cayed, I.M. Gone, and Barry R. Bones. "Dracula, Fangs for the Memories," he read aloud and, chuckled. Grace held up her favorite. "Rigger Mortys. Death Grips and Holds Me Tight, But I Shall Return on Halloween Night." Tongue-in-cheek, he asked her, "What would your headstone say?" "She Threw a Great Party," came to mind. "How about yours?" "Death by Decorating.

When God makes Himself known in your life, write it down. Everything. Documentation in the moment is critical if you want to create a high-resolution map of God’s plan for you. This is the time in which God has placed you and there is a reason. Don’t trust something as important as walking out the unique plan and purpose you were created to perform to memory that fades over time. Prevent the natural erosion of confidence engineered by the ruler of this world, Satan, the deceiver, by making notes. You have an eternally assigned role that the devil wants to distract you from, and he’ll use every trick necessary to get you to doubt your value, wander off your dotted line, and undermine your confidence in God as a personal, up-close Father who is with you now and forever.

There’s something about an interstate highway that nearly wipes out the memories of before. Each ticking mile marker brings you further away from the person you were at the start.

Brain experts have recently found a way to capture 3-D images of a vision, like a hologram. The procedure, called PET (positron-emission tomography), is performed by injecting glucose into the bloodstream whose carbon molecules have been tagged with radioisotopes. Glucose is the only food in the brain that it uses much more quickly than ordinary tissues. Consequently, when the injected glucose reaches the brain, its carbon marker molecules can be picked out as the brain uses them, and thus pictured on a monitor in three dimensions, much the same way a CAT scan is made. Watching these marker molecules change as the brain thinks, scientists saw that each distinct experience in the mind universe — such as a sense of discomfort or a clear memory — triggers a new chemical pattern in the brain, not just at one location, but at many locations. For every thought, the image looks different, and if one could extend the portrait to be full-length, there's no doubt that the entire body changes at the same time, thanks to the cascades of neurotransmitters and related messenger molecules.

I came across an Etruscan word, saeculum, which is a concept, or marker, of a temporal interval. Generally speaking, it is the span of time lived by the oldest person present. The day will come…when the last person to have fought in Vietnam will die. . . .Who will remember when . . . a car had to be cranked to start or when the clank of an ice delivery man carrying fifty-pound block in tongs brought merriment to the afternoon? I wonder, then, what would be my saeculum. Or whom. I wonder what young nephew or niece’s child, siphoned through the tunnel of time, would see a faded photograph of me and search their memories for my name. I think he was some sort of great-uncle, she or he will say. I don’t remember exactly. Look at his clothes!

Nothing sorts out memories from ordinary moments. It is only later that they claim remembrance, when they show their scars.” Chris Marker, La Jetée

Graceland is, in many ways, Chicago’s memory. The graves there mark the resting places of titans of industry, holy men, gangsters, politicians, near saints, and madmen and murderers. Tales of tragedy, of vast hubris, of bitter greed and steadfast love, are represented in the markers that stand over the graves of thousands.

In the graveyard, there are another eight hundred and five monoliths laid out like coffins, exact duplicates of the ones that are part of the permanent memorial. Each county in which a lynching took place is invited to research lynching in their communities and then enter into a process with the EJI in order to place the corresponding monolith in their community. As far as I know, only one community has claimed a marker.

Short-term memory Short-term memory has limitations. Specifically, people can keep about four chunks of visual information in their short-term memory at a given time. This means that if we create a graph with ten different data series that are ten different colors with ten different shapes of data markers and a legend off to the side, we’re making our audience work very hard going back and forth between the legend and the data to decipher what they are looking at.

Scars are especially useful as historical markers when one's own memory and consciousness cannot be trusted.

In your care I will be released from my worries” (CIL 11.137). In a few brief sentences, this man’s colorful life, during which he passed from freedom to slavery to freedom and ultimately to prosperity, is memorialized. An aspect of life that these tombstones bring to light is the strong emotions that tied together spouses, family members, and friends. One grave marker records a husband’s grief for his young wife: “To the eternal memory of Blandina Martiola, a most blameless girl, who lived eighteen years, nine months, five days. Pompeius Catussa, a Sequanian citizen and a plasterer, dedicates this monument to his wife, who was incomparable and very kind to him. She lived with him five years, six months, eighteen days without any shadow of a fault. You who read this, go bathe in the baths of Apollo as I used to do with my wife. I wish I still could” (CIL 1.1983). The affection that some parents felt for their children is also reflected in these inscriptions: “Spirits who live in the underworld, lead innocent Magnilla through the groves and the Elysian Fields directly to your places of rest. She was snatched away in her eighth year by cruel fate while she was still enjoying the tender time of childhood. She was beautiful and sensitive, clever, elegant, sweet, and charming beyond her years. This poor child who was deprived of her life so quickly must be mourned with perpetual lament and tears” (CIL 6.21846). Some Romans seemed more concerned with ensuring that their bodies would lie undisturbed after death than with recording their accomplishments while alive. An inscription of this type states: “Gaius Tullius Hesper had this tomb built for himself, as a place where his bones might be laid. If anyone damages them or removes them from here, may he live in great physical pain for a long time, and when he dies, may the gods of the underworld deny entrance to his spirit” (CIL 6.36467). Some tombstones offer comments that perhaps preserve something of their authors’ temperaments. One terse inscription observes: “I was not. I was. I am not. I care not” (CIL 5.2893). Finally, a man who clearly enjoyed life left a tombstone that included the statement: “Baths, wine, and sex ruin our bodies. But what makes life worth living except baths, wine, and sex?” (CIL 6.15258). Perhaps one of the greatest values of these tombstones is the manner in which they record the actual feelings of individuals, and demonstrate the universality across time, cultures, and geography of basic emotions such as love, hate, jealousy, and pride. They also preserve one of the most complicated yet subtle characteristics of human beings—our enjoyment of humor. Many of the messages were plainly drafted to amuse and entertain the reader, and the fact that some of them can still do so after 2,000 years is one of the best testimonials to the humanity shared by the people of the ancient and the modern worlds.

Oh, no,” Valentine said. “I’m anything but that.” He moved a little closer to her, and she stepped in front of the Sword, blocking it from his view. “You think of me that way because you look at me and at what I do through the lens of your mundane understanding of the world. Mundane humans create distinctions between themselves, distinctions that seem ridiculous to any Shadowhunter. Their distinctions are based on race, religion, national identity, any of a dozen minor and irrelevant markers. To mundanes these seem logical, for though mundanes cannot see, understand, or acknowledge the demon worlds, still somewhere buried in their ancient memories, they know that there are those that walk this earth that are other. That do not belong, that mean only harm and destruction. Since the demon threat is invisible to mundanes, they must assign the threat to others of their own kind. They place the face of their enemy onto the face of their neighbor, and thus are generations of misery assured.” He took another step toward her, and Clary instinctively moved backward; she was pressed up against the footlocker now. “I’m not like that,” he went on. “I can see the truth of it. Mundanes see as through a glass, darkly, but Shadowhunters—we see face-to-face. We know the truth of evil, and know that while it walks among us, it is not of us. What does not belong to our world must not be allowed to take root here, to grow like a poisonous flower and extinguish all life.

Collect the positives in your past In the Old Testament, God commanded His people to have certain feasts and certain celebrations. One of the main reasons was so they would remember what He had done. Several times a year they would stop what they were doing so everybody could take off. They would celebrate how God brought them out of slavery and how God defeated their enemies and how He protected them. They were required to remember. In another place it talks about how they put down what they called “memorial stones.” These were big stones. Today, we would call them historical markers. The stones reminded them of specific victories. Every time they would go by certain stones they would recall an event. “This stone was for when we were brought out of slavery. This stone is for when our child was healed. This stone is for how God provided for our needs.” Having these memorial stones helped them to keep God’s deeds fresh in their memories. In the same way, you should have your own memorial stones. When you look back over your life, you should remember not when you failed, no when you went through a divorce, not when your business went down, not when you lost that loved one, not when the boss did you wrong. That’s remembering what you’re supposed to forget. You need to switch over to the other channel. Remember when you met the love of your life, remember when your child was born, remember when you got that new position, remember when the problem suddenly turned around, remember the peace you felt when you lost a loved one. Remember the strength you had in that difficult time. It looked dark. You didn’t think you’d see another happy day again, but God turned it around and gave you joy for mourning, beauty for ashes, and today you’re happy, healthy, strong. We should all have our own memorial stones.

Can these signs and symbols still speak? Images, memories, stories, and objects all carry the past into the present. As we think about these messages from the past, we might wonder, too, about what kind of signs we are leaving for the future. How will our children's children know of us? What markers of our passing do we leave upon the land? Some of these signs, because of the material they're made from, or the care taken in making them, may last longer than others and have different stories to tell.

A strange phenomenon occurs when the body is in peril, when the brain continues to function as other parts freeze up or fail. A person’s life flashes before her eyes. The events don’t always play back chronologically, but they are the more emotional moments experienced during a lifetime. These memory markers play in review in full color and explicit detail, and they elicit every emotion that was previously experienced in real time. It feels like an eternity when it happens but, in actuality, is over and done with in a matter of seconds. On

It's been five years since she was here, but the memory replays itself across my mind as if I were standing beside her on that quiet afternoon. We all leave markers behind - dead or alive - vibrations that trail behind us through all the places we've been. And if you know how to see them, the imprints of a person can be found - and followed. But like all things, they fade with time, become less clear, until finally they are washed over with new memories, new people who have passed through here.

I would have preferred raised stones as markers," she said simply, and he understood that she was confiding a deeply private thing to him. "I imagined something upright, tall, with chiseled angels rising from it. I wanted a curved elaborate script to spell their names, a poem or a prayer carved into marble. I wanted a building built. A mausoleum.: She sighed. "I wanted something as magnificent as grief.

How she had struggled with the language but learned all the while something completely unexpected and equally precious: another way of seeing the world. It was as if material things no longer had any value except as markers of memory; all the familiar concepts of wealth, ambition, power, success, had seemed to fade away, irrelevant. She had been dipped into a rough poetry of everyday life and come out not exactly speaking Russian but versed in an idiom of pleasure in simple things, in sudden friendship, in an almost mystical perception of something deeper and inexplicably vital.

A memorial park is a cemetery where there are no upright headstones; all the markers are flush with the ground, giving the appearance of lush, undeveloped land.

some past memory was trying to come to the surface. It puzzled him. Unconsciously he reached for his mother’s pendant, the Memory Marker he always wore around his neck. He never took the enchanted jewel off. It had great emotional value for him. He believed it somehow protected him in his path through life. He liked to think that his mother helped him through the pedant. It was a way for him to feel close to her. Then,

Captain Miller lay close by where he had been hit, his back slumped against the bridge’s wall. Ryan, in anguish, was alone with his rescuer in the final moments before Miller died. Ryan watched as the captain struggled in his last moments, shot clean through one lung. The captain wouldn’t take another breath, except to grunt, “James. Earn this … earn it.” Were these dying words a final order or charge? Private Ryan has always taken it that way. These memories rivet the aged James Ryan, who now finds himself staring at the grave marker and mumbling to his dead commander. He tells Captain Miller that his family is with him. He confesses that he wasn’t sure how he would feel about coming to the cemetery today. He wants Captain Miller to know that every day of his life he’s thought of their conversation at the bridge, of Miller’s dying words. Ryan has tried to live a good life, and he hopes he has. At least in the captain’s eyes, he hopes he’s “earned it,” that his life has been worthy of the sacrifice Captain Miller and the other men made of giving their lives for his. As Ryan mutters these thoughts, he cannot help wondering how any life, however well lived, could be worthy of his friends’ sacrifice. The old man stands up, but he doesn’t feel released. The question remains unanswered. His wife comes to his side again. He looks at her and pleads, “Tell me I’ve led a good life.” Confused by his request, she responds with a question: “What?” He has to know the answer. He tries to articulate it again: “Tell me I’m a good man.” The request flusters her, but his earnestness makes her think better of putting it off. With great dignity, she says, “You are.

Taxus—wait.” But he was gone. In his absence, I tried to piece the shattered mirror of my memories back together. I remembered impressions—colors and smells and sounds. The names were harder to recount, like working an atrophied muscle. Strained, they came. Opal. Nya. Dimia. Erik. Tyrn. Aunt. Half sisters. Father. Uncle. Then, on a day or a night without marker, I remembered a walk through the wood. A nameday. An old rhyme. Yellow girl, soft and clean. Yellow girl, plain—unseen. Yellow girl, overlooked. Yellow girl, won’t be Queen. Ione. I’d joined my cousin Ione in town. Followed her to my father’s house. Left early… And met two highwaymen on the forest road.