It is already disorienting enough to accept that our attention only absorbs a fraction of the events and phenomena unfolding within and around us at any given moment. Now consider that our memory only retains a fraction of what we have attended to in moments past. In the act of recollection, we take these fragments of fragments and try to reconstruct from them a totality of a remembered reality, playing out in the theater of the mind — a stage on which, as neuroscientist Antonio Damasio has observed in his landmark work on consciousness, we often “use our minds not to discover facts, but to hide them.”
We do this on the personal level — out of such selective memory and by such exquisite exclusion, we compose the narrative that is the psychological pillar of our identity. We do it on the cultural level — what we call history is a collective selective memory that excludes far more of the past’s realities than it includes. Borges captured this with his characteristic poetic-philosophical precision when he observed that “we are our memory… that chimerical museum of shifting shapes, that pile of broken mirrors.” To be aware of memory’s chimera is to recognize the slippery, shape-shifting nature of even those truths we think we are grasping most firmly.
Nearly a century after Nietzsche admonished that what we call truth is https://www.themarginalian.org/2018/03/26/nietzsche-on-truth…ral-sense/ the great Japanese filmmaker Akira Kurosawa (March 23, 1910–September 6, 1998) created an exquisite cinematic metaphor for the slippery memory-mediated nature of truth in his 1950 film Rashomon, based on Ryunosuke Akutagawa’s short story “In a Grove” — a psychological-philosophical thriller about the murder of a samurai and its four witnesses, who each recount a radically different reality, each equally believable, thus undermining our most elemental trust in truth.
