The influence of gaslight or electric light on the growth of paraheliotropic trees

Did I remember what I think I remember? What is the process of the self-authorship of memory? These are the movies in our head, purporting to be the remnants of our lives — when I try,  I can remember carrying my uncle in his coffin to his grove through the snow — I remember his funeral, sitting next to my cousin Jacob, sitting next to his grandfather Dan — (who had the face of my uncle grown old, my uncle whose face would now never grow old — oh memory, oh sadness)

The fuzzy trace theory model canl help explain how false memories are created. According to Reyna and Brainerd (1995) the fuzzy trace theory states that the processing of items is determined by gist traces or verbatim traces.  The gist traces are general senses and meanings of presented items that consist of rational information.  Gist traces are pieces of information that closely match the event, while verbatim traces are item-level data, which is specific detail of item (Neuschata, Lampinen, Preston, Hawkins, & Toglia, 2002).  Reyna and Kiernan (1995) found that participants sometimes falsely notice verbatim traces, although they had better remembered gist traces. The fuzzy trace theory theory will help in deciphering the cause of false memories in the photographs that are shown in the present study.

http://www.anselm.edu/internet/psych/theses/2005/creaser/Introduction.html

 

Band, named after pickpocket academy in South America in the 1980s, that led to pickpocket epidemic on easts coast in the 80s.

Influences: Dreampop, 4AD Records, M83, David Archuleta

http://en.wikipedia.org/wiki/School_of_Seven_Bells

However, it was at one of these balls that I first saw the cake-walk. There was a contest for a gold watch, to be awarded to the hotel head-waiter receiving the greatest number of votes. There was some dancing while the votes were being counted. Then the floor was cleared for the cake-walk. A half-dozen guests from some of the hotels took seats on the stage to act as judges, and twelve or fourteen couples began to walk for a sure enough, highly decorated cake, which was in plain evidence. The spectators crowded about the space reserved for the contestants and watched them with interest and excitement. The couples did not walk round in a circle, but in a square, with the men on the inside. The fine points to be considered were the bearing of the men, the precision with which they turned the corners, the grace of the women, and the ease with which they swung around the pivots. The men walked with stately and soldierly step, and the women with considerable grace. The judges arrived at their decision by a process of elimination. The music and the walk continued for some minutes; then both were stopped while the judges conferred; when the walk began again, several couples were left out. In this way the contest was finally narrowed down to three or four couples. Then the excitement became intense; there was much partisan cheering as one couple or another would execute a turn in extra elegant style. When the cake was finally awarded, the spectators were about evenly divided between those who cheered the winners and those who muttered about the unfairness of the judges. This was the cake-walk in its original form, and it is what the colored performers on the theatrical stage developed into the prancing movements now known all over the world, and which some Parisian critics pronounced the acme of poetic motion.

— James Weldon Johnson: The Autobiography of an Ex-Colored Man, 1912, Chapter 5, page 50