Knowing how memory works is empowering

 ‘Knowing how memory works is empowering for all of us’ (Daniel Siegel, 2012)

Memory plays a significant role in defining personhood and our capacity to learn. It determines the quality of our life and choices and is inherently linked to our well-being. Robin Vance and Kara Wahlin, whose chapter I have partly relied on to briefly write about memory is also about art making. With the aid of neuroscience we now know that memory systems are expressed in art-making, and also, that therapy and art therapy practices contribute to growth and brain plasticity, which is ‘the overall process with which brain connections are changed by experience’ (Daniel Siegel, 2012) and art creation can enhance our sense of worth and well being. Vance and Wahlin write that ‘successful art-making enhances the memory of self as capable’ (2008). Furthermore, Robin Vance (art therapist and practicing artist) and Kara Wahlin discuss how ‘artwork can be an expression of several types of memories as it engages multiple cognitive and perceptual neural pathways processes’. They further discuss how the art process ‘updates memories, and supports a broader and more flexible personal agency’. Their chapter is also very interesting because it highlights the connections between the nervous, the immune and the endocrine systems. In particular, Robin Vance shows us how explicit and implicit memory processes are expressed in her artwork. In relatively little space the chapter discusses the different types of memory in relation to the artistic process, healing and personal agency.

To begin with, there are different types of memory and I will briefly refer to these and the brain areas connected to these, using information both from Vance and Wahlin’s chapter, mentioned above, but also from Daniel Siegel’s Pocket Guide to Interpersonal Neurobiology. Our explicit conscious memories are held by the left hemisphere, which is the center for understanding language and expression. The left hemisphere ‘coordinates the conscious, social side of our experience’ (Vance and Wahlin, 2008). Neuroimaging experiments have shown that our verbal working memory takes place in the left hemisphere of the prefrontal cortex, whereas, our visuo-spatial memory takes place in the right hemisphere of the prefrontal cortex, as well as in the parietal lobe, which also coordinates experiences of the body. (Walter et al. 2003, cited in Vance and Wahlin, 2008). Utilizing visual-spatial and musical abilities, emotions and understanding facial expressions are mostly right brain processes. Robin Vance, who is also an artist, describes her experience of making art in connection to the different areas of the brain. She writes that she moves, often to music, as she makes the art and believes that moving assists her towards implicit unknown somatic memories. She believes that this probably ‘enlists her right hemisphere, leaving the left’s sequential planning and problem-solving behind’ (Robin Vance, 2008). What she finds interesting is that this process allows her to update and remember, but also to let go of outdated, unused, emotionally charged memories, which in turn allows her to ‘move into unrecognized territories of self-awareness’ (Vance, 2008). She also describes how art making and moving reduced her reoccurring back pain. She writes that she ‘moved to forget pain, gratified with making new memories and focusing on the pleasure and joy of discovery’ (Robin Vance, 2008). In this case, Vance and Wahlin claim that forgetting may involve strengthening existing coping pathways, while doing the art helps distract from the pain, which involves procedural memory; discovery engages hippocampal and amygdala functioning, and finally, movement stimulates dopamine and endorphins.

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