[ by Charles Cameron — it seems — to me at least — that associative memory is at the root of creativity, and that the process, preconscious pattern-recognition, is basically aesthetic in nature ]
— RNLI Poole Lifeboats (@PooleLifeboats) November 17, 2015
There’s the present moment — in this case, today’s tweet from the RNLI above.
And there’s the memory it elicits — in this case, Hokusai‘s Great Wave at Kanagawa, with its three little boats, tiny Mt Fuji, and towering, breaking wave, from A Series of Thirty-Six Views of Mount Fuji:
That’s the same process, from perception to memory, that I was thinking of when I wrote DoubleQuoting the French Revolution, and quoted Robert Frost:
The artist must value himself as he snatches a thing from some previous order in time and space into a new order with not so much as a ligature clinging to it of the old place where it was organic.
Come to which, and moving by the same process from what’s in front of me to what I remember, here’s a DQ of Hokusai (~1760-1849) — before me now as I write this — and an image deriving from the work of Benoit Mandelbrot (1924-2010) on fractals” — which looking at the Hokusai quickly reminds me of:
And as I look at that DoubleQuote, here at the time of writing this post, it reminds me strongly of my earlier DoubleQuote of Van Gogh and Von Kármán:
In each of these two cases, art precedes science.
In each case, too, the associative process is the same, with some item perceived in the present calling up a past memory that is related to it — in a manner that can generally be articulated and annotated.
Such is the mechanism of a typical “move” in a DoubleQuote or HipBone game.