How can the process of cognitive archaeology refine physical understanding of subconscious imagery predicated on past, future, and present emotional constructs?

Possessing the human ability to be aware of a chronological division between past and present events relevant to personal experience is remarkable. Decision making, processing social interactions, and directing motivational purpose are all systemic of our inherent ability to compare the “then” and “now”. Rudimentary stages of idea creation and expansion fall into line beneath a subconscious organization of events and fragmented memories. Fabrication of my three dimensional object will follow the directional means of cognitive archeology, ultimately establishing a conglomeration of personally historic and momentous thoughts indirectly synthesized into the environmental aesthetic of a dream scape I have recently experienced. Involuntarily retaining observational memory of procedures or interactions made throughout the day is often a process that occurs without self-recognition or established agency(. How does the brain decide what is to be remembered and what is to be forgotten? Is the brain itself the singular deciding entity? The thought process can become synchronized with or through external influence, social representation, or material connection. Stimulation of memory can sometimes become apparent in an active cognitive state during the day. Reproductions of thoughts and daily events during a position of rest or sleep however, can be manifested in disorienting abstract patterns resulting in a personal desire for truth along with explanation for the indescribably unknown. Dream excavation can be credited with redefining interactions one has made during past or present life and assembling them with implications of social or emotional makeups relevant to present or future experience, “it is an open picture with permeable boundaries, and it is so for a good reason: it maps a cognitive landscape in which brains, bodies, and things play equal roles in the drama of human cognitive becoming (Malafouris, 2)”. Malafouris uses this explanation to define his observation of human interaction and cognitive exposition however, this elaboration is crucially relative to my own formulation and justification of dream excavation in relationship with cognitive archaeology.

I thought I knew

The imagery and material validation of dreamscapes can become uncontrollably infinite, providing a distorted development of confusing questions, obligations, and indefinite answers. Complete control of decision making in dreams is not easily attainable and a much more instinctual, almost primitive thought process emerges. Repurposing, or discovering purpose for fragmented thoughts swarming my subconscious mind could potentially provide a new conceptualization of environmental stimulus and anthropological constructs relative to subtly disowned creativity. Emotional convictions and confrontation can be replicated then reorganized within a dream state also parallel to REM sleep. Guo Yuxian, a woman recognized in “women and the Material World” briefly summarizes the life of her mother in comparison ot her own, bringing forth great emotional conflict and discomfort, revisiting the personally imposed question of “why didn’t I help her when I could”? Annotations of detail embedded in the interview text indicate that Guo Yuxian’s most vivid childhood memory was that of her mother’s bound feet (Dowling, 50). This experience represents a very real cognitive interaction immediately reflected upon by shared human experience. What if She were able to interact with her emotion through a physical manifestation of her “most vivid childhood memory”? Would this be beneficial or detrimental? Uncovering and refining a subconscious image or idea promotes particular human endearment pertinent to the value of success or ownership. Allowing that same idea/image to manifest itself into physical form redirects the concepts back to ornamental value, reflecting the history of a thought process within the realm of contained static motion. Valued in acute vividness and intensity, a recent subconscious organization of memory and emotion implored me to interact with a personally irrelevant past acquaintance, a stranger, a bathroom, and a knife. My body was then a subject of impalement within the dream, slowly progressing to incision line-work moving vertically down the torso and ending at my waist line where I then existentially impeded further cutting imposed by the blade. While holding the tool delicately in my hand, it was then revealed by its user or opposing projection of thought, that the knife’s material identification was to be known as a “plumbing knife”, directed towards me as if I had posed the specific question. Consumed with the vivid aesthetic of the “plumbing knife” I intend to reproduce it physically along with its metaphysical properties of anxiety and fear. Subconscious compilations of distinct imagery along with recognition of language through explicit personal history have been synthesized into a false memory which will soon have new meaning physically. The knife itself will be designed and printed to the exact details vividly represented in my alternative innovative state of consciousness. The rust of the short and dull blade is crucial to the overall simplistic aesthetic of the tool. This will be a process of time travel in prospect of artifact recovery, an artifact that has been created by my own subconscious mind to be remembered by my conscious self, eliminating the boundary of the mental and physical, ultimately creating a blanket of transparency or bridge between two opposing states of mind.

Works Cited