ABSTRACT
The cultivation of visual memory centrally informs the production and consumption of art at the turn of the twentieth century. Voluntary and involuntary processes distinguish the two. While the art student quickly learns that he or she must retain what has been seen, the consumer of art finds that it has been absorbed at conscious and subconscious levels. Projections which lie beyond immediate sensory experience and which condition its reception have to be considered. There must be a way of describing that mental space in which the past is projected on to the present, unpacking voluntary and involuntary memory, to inform new production in the more complex processes of realization which emerge. This chapter confronts the mind map in which images become transparent layers through which the present is perceived, at the time when memory training was an issue in art education.
