STRATEGY AND SPECIFICATION HEATHER-ANNE KENDRICK FALSE MEMORIES
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STRATEGY POSTER GRID BOOK GRID POSTER TRUTH STATEMENTS
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POSTER ‘BELIEVED MEMORY’ STATEMENTS DEFINITION/DIVIDING LINE/FOLIOS SECTION BODY COPY CONTENTS SECTION NUMBERS/SECTION TITLES QUOTATIONS/PULL QUOTATIONS REFERENCES/HEADINGS/BIBLIOGRAPHY/FURTHER READING
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STRATEGY This project explores the subject of False Memories. Through thorough research, I generated and wrote all of the content used in the book and the series of posters. My intention was to sensitively inform the reader about the topic, reflecting both the controversial and delicate nature in the final solution. My aim was to produce a booklet along side a series of posters that could be found in the waiting area of a medical institution or therapy center, aimed at patients and their families to make them aware of the existence and the nature of false memories. In this location it is possible that the audience could be experiencing the problems associated with false memories, or similar situations. Thus it was important that the book approached the subject sensitively, which is reflected in the typographic appropriateness of my solution. It was also important that the content gave balanced arguments for each side of the debate surrounding the topic. The posters display case studies of false memories ranging in scale from a minor case through to the most severe. This is to highlight the issue that cases can occur on various different levels, producing various different effects on the people around them. The type used in the posters has two distinct voices, reflected in the typeface itself and also in the size and colour used to present them. Each of the four posters has a different typeface for the ‘false memory’ that the subject believes; Adobe Calson Pro, Adobe Jenson Pro, Mrs Eaves and Scala. The use of these four different serif fonts is intended to reflect the four different voices of the individuals involved in each case study. The ‘false memory’ is screen printed in grey ink and at a distance, appears to be the only thing present on this poster. This reflects the idea that when a person possesses a false memory, they genuinely believe it to be true. The memory is very vivid and it is difficult convince the believer that it is untrue, or make them see any other possible explanations. For this reason, the truth is printed in pearlescent ink, so it can only be seen when the user works to find it. Reflecting the idea that a therapist my have to work by questioning the believer or looking for corroboration from others present at the event in order to discover the truth. The typeface used for the ‘truth’ on the posters is the same on each, Trade Gothic. This solid, sans-serif typeface represents what is real, the events that actually took place. The same concept is carried across the book, starting with the cover on which the title is also printed with pearlescent ink. A combination of Trade Gothic and Baskerville are used to give the content two levels, like the two sides of the debate surrounding False Memories. The use of scale and variations in the weight of the typefaces are intended to give the book a sense of order and hierarchy, to guide the reader through the text. The distinct sections in the book allow the user to begin or end their reading at any point, giving them control over the information they receive. The elimination of the use of black reflects the idea that nothing about the topic is certain. The text within the book is presenting the ideas that exist about the topic, but as of yet, there is no right or wrong within the debate. As the book progresses, the percentage of black used for the type decreases, giving the sense that the further the false memory is allowed to develop, the less clear it becomes to everyone
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where the truth lies. The exception to this is page 16, black ink printed on black paper. This technique is used to emphasise the quote printed on this page; that despite the opinions and input of others, the subject really does believe what they think they remember, it is solidly transfixed in their mind like the single black page is transfixed in the book. The other pages in the book are printed on two variations of off-white stock, one type of grey stock and transparent stock. The colour variations represent the varying views on the topic and the uncertainty of the issues that surround it, whilst the tracing paper adds depth to the content, suggesting the layering and clouding of ideas. An introduction gently eases the reader into the book, with the centralised text whispering in the middle of the page reflecting the overall delicate approach to the solution. The first section gives the reader general information on memories, sensitively building up to the main topic of false memories rather than instantly bombarding them with the information. A quote is placed at the beginning of each section which aims to give the book context, allowing the reader to further understand the nature of memories and the views that exist on it. I have used images in the book which appear at the end of each chapter. Each image is a photocopied manipulation of an original black and white photograph, progressively deteriorating in visibility. This is another tool used to suggest the increasing uncertainty which occurs in false memory cases as they progress further. The reader may be interested to learn the sources that I used to gain the information presented in the book so a bibliography is included at the end, with all quotations directly referenced using the Vancouver Referencing System. The references are displayed on a half page and can thus be read simultaneously with the bibliography. When the page is turned, the reader reveals a list of suggested further reading should they wish to learn more on the subject. The booklet provides an introduction to the topic, with the posters highlighting the scale of cases that can occur. The sensitive approach to the use of typography, format and processes used in the final solution make it accessible to the reader, also making them aware of the overall delicate nature of this uncertain topic.
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SPECIFICATION POSTER GRID POSTER SIZE - 1188pt x 1676pt/419.1mm x 591.26mm 1. MARGIN - 36pt 2. MODULE HEIGHT - 190pt 3. MODULE WIDTH - 129pt 4. GUTTER - 12pt
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SPECIFICATION BOOK GRID PAGE SIZE - 396pt x 600pt/139.7 x 211.67 1. MARGIN - 30pt 2. BASELINE GRID - 12pt 3. GUTTER - 12pt 4. COLUMN WIDTH - 46pt 5. BODY COPY HANGING LINE - 162 pt 6. CENTER LINE - 294 pt
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SPECIFICATION POSTER TRUTH STATEMENTS 1.
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TRUTH STATEMENT - Trade Gothic LTD Std, Bold No. 2, 80pt/96pt Leading, Pearlescent Screen Printing Ink, 834 pt Measure, Aligned Center
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SPECIFICATION POSTER ‘BELIEVED MEMORY’ STATEMENTS 1. 2. 3. 4.
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POSTER ONE ‘BELIEVED MEMORY’ STATEMENT - Adobe Calson Pro, Regular, 12pt/14pt Leading, Grey Screen Printing Ink, 270 pt Measure, Aligned Center POSTER TWO ‘BELIEVED MEMORY’ STATEMENT - Adobe Jenson Pro, Regular, 12pt/14pt Leading, Grey Screen Printing Ink, 270pt Measure, Aligned Center POSTER THREE ‘BELIEVED MEMORY’ STATEMENT - Scala, Regular, 12pt/14pt Leading, Grey Screen Printing Ink, 270pt Measure, Aligned Center POSTER FOUR ‘BELIEVED MEMORY’ STATEMENT - Mrs Eaves XL Serif Nar OT, Regular, 12pt/14pt Leading, Grey Screen Printing Ink, 270pt Measure, Aligned Center
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SPECIFICATION DEFINITIONS/DIVIDING LINE/FOLIOS 1. 2. 3. 4. 5.
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TERM BEING DEFINED - Baskerville, SemiBold, 8pt small caps, 12 pt leading, 50% Black, 336 pt Measure, Aligned Justified Center DEFINTION OF TERM - Baskerville, SemiBold, 8pt/12pt leading, 50% Black, 336 pt Measure, Aligned Justified Center RULE - 336pt, 1pt Dotted Stroke, 50% Black FOLIO STROKE - 12pt, 0.5pt Stroke, 50% Black FOLIO - Trade Golthic LTD Std, Light, 8pt, 50% Black, Aligned Center
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SPECIFICATION SECTION BODY COPY 1. 2. 3. 4.
SECTION ONE BODY COPY - Baskerville, Regular, 8pt/12 pt leading, 65% Black, 162pt Measure, Aligned Left SECTION TWO BODY COPY - Baskerville, Regular, 8pt/12 pt leading, 55% Black, 162pt Measure, Aligned Left SECTION THREE BODY COPY - Baskerville, Regular, 8pt/12 pt leading, 45% Black, 162pt Measure, Aligned Left SECTION FOUR BODY COPY - Baskerville, Regular, 8pt/12 pt leading, 35% Black, 162pt Measure, Aligned Left memory:
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an organism’s ability to store, retain, and recall information and experiences.2
Memory is far more than bringing to mind information encountered at some previous time. Whenever the experience of some past event influences someone at a later time, the influence of the previous experience is a reflection of memory for that past event. There are three key processes involved in memory; Sensory, Short-term and Long-term.
It is tempting to assume that our long-term memories are static and unchanging, but they’re not. Memory is dynamic, often a blend of the original event and our current state of mind. Our memories are subject to revision and change almost every time we remember something, and they are very susceptible to external manipulation. Essentially a memory is formed from a real experience, but could somebody plant an entirely false memory in our heads? Is it possible to believe we experienced something that never actually took place?
corresponds approximately to the initial 200–500 milliseconds after an item is perceived. The ability to look at an item, and remember what it looked like with just a second of observation, is actual an example of A false memory or is amemorisation, distortion of an sensory memory. experience, or the spontaneous narrative report sensory memory
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However, a false memory is not the same as a lie, the subject really does believe what they think they remember. It’s just that the memory itself is false. The memory can be very vivid and held with high confidence, and it can be difficult to convince someone that the memory in question is wrong. In some cases, false memories can rip families apart. If one develops a false memory of being abused as a child and begins to make accusations, the case can be taken to court and lead to the prosecution of the ‘accused’. But how can we tell if a memory is true or false?
of events that never happened. For example, a short -term memory is the capacitya glass for holding memory of your Mother throwing of milka
small amount of when information mind an active, over you Father, it was ininfact yourinFather readily available state a short period of time. who threw the milk is afor false memory based on an actual experience. You may remember the event long muchclearly, larger but vividly-term and bememory able to can ‘see’store the action
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quantities of information potentially unlimonly corroboration by thosefor present can determine ited amounts of time, of sometimes an entire whether your memory the eventfor is accurate. lifespan. Unlike Sensory or Short-term memory, Distortions such as switching the roles of people in the Long-term memory is immeasurone’scapacity memoryofare quite common. ably large. False has become anmixing important area of Manymemory false memories involve or confusing
horrific satanic rituals involving human sacrifices
cases in the United States together. centered Some around the remembered as occurring involve issue of recovered memory. Recovered memories treating dreams as if they were playbacks of real
to the patient, their suffering is real and families are torn apart, regardless of whether the memories
with the help are of psychotherapy. Butresult it is virtually in childhood, believed to be the of impossible to tell whether somebody has recovered prodding, leading and suggestions by therapists and acounselors repressedduring memory, or imagined a false one. Recovered Memory Therapy Furthermore, many psychologists maintain which will be explored further in section 03. that their colleagues doing Repressed Memory Therapy are encouraging, prodding and suggesting false memories of abuse to their patients.
A wave of recovered memory cases prompted research psychologist Elizabeth Loftus to investigate whether or not it was possible to lead someone to believe something that in fact was not true. After working on dozens of cases, Loftus claimed that it was possible for recovered memories to be fabricated as a result of the very therapeutic process that was designed to aid the alleged victim. She succeeded in planting a range of traumatic experiences in people’s memories, which included getting lost for long periods of time as a child, watching animals dying and even being witness to demonic possession. All of the subjects truly believed they had undergone these experiences when in fact they hadn’t.
psychological researchevents, and also a controversial fragments of memory some of which may one. In the early 1990’s several landmark legal have happened at different times, but are being
and cannibalism. In situations like this, where does the truth lie? The memories are real and horrible
occur when aMore victim of some sort some of trauma, experiences. controversially, false such as child abuse, recovers a repressed memory often memories, in particular those of abuse experienced
are real or imagined.
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Memories are often mixed: some parts are accurate and some parts are not. Separating the two can be enough of a chore under ordinary circumstances. As an example, a woman might have consciously repressed childhood sexual abuse by a neighbour or relative. Some experience in adulthood may serve as a retrieval cue and she remembers the abuse. This disturbs her and disturbs her dreams. She begins to have nightmares, but now it is her Father or Grandfather or Priest who is abusing her. She enters Repressed Memory Therapy and within a few months she recalls vividly how her Father,
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This isn’t to say that all recovered memories are fabricated. Many people do genuinely experience and then for some reason repress traumatic events. But Loftus has revealed to us the reconstructive and ultimately fragile nature of memory; our past
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SPECIFICATION CONTENTS 1. 2.
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SECTION TITLES - Trade Gothic LTD Std, Bold No. 2, 8pt/12pt Leading, 75% Black, 162pt Measure, Aligned Left PAGE NUMBERS - Trade Gothic LTD Std, Light, 8pt/12pt Leading, 75% Black, 46pt Measure, Aligned Right
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SPECIFICATION SECTION NUMBERS/ SECTION TITLES 1. 2.
SECTION NUMBERS - Baskerville, Italic, 88pt/88pt Leading, 50% Black, 104pt Measure, Aligned Center SECTION TITLES - Trade Gothic LTD Std, Bold No.2, 12pt/12pt Leading, 50% Black, 220pt Measure, Aligned Center
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An Introduction to Memory
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SPECIFICATION QUOTATIONS/ PULL QUOTATIONS 1. 2.
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QUOTATIONS - Baskerville, Regular, 8pt/12pt Leading, 75% Black, 220pt Measure, Aligned Center PULL QUOTATIONS - Trade Gothic LTD Std, Bold No.2, 32pt/36pt Leading, 50% Black (100% Black on Page 16), 220pt Measure, Aligned Center
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SPECIFICATION REFERENCES/HEADINGS/BIBLIOGRAPHY/FURTHER READING 1. 2. 3. 4.
REFERENCES - A printing error resulted in the reference numbers being difficult to see. They should be Baskerville, Regular, 8pt Superscript, 75% Black, and are visible in the mock books. REFERENCE LIST HEADING - Baskerville, SemiBold, 8pt/12pt Leading, 75% Black, 162pt Measure, Aligned Left REFERENCE LIST - Baskerville, Regular and Italic, 8pt/12pt Leading, 75% Black, 162pt Measure, Aligned Left, Numbered List, Left Indent 18pt, First Line Indent -8pt, referenced using the Vancouver Referencing System FURTHER READING LIST/BIBLIOGRAPHY - Baskerville, Regualr and Italic, 8pt/12pt Leading, 75% Black, 162pt Measure, Aligned Left, Havard Referncing System
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