<p>The term ”déjà vu” was first introduced around the 1890s in order to separate thephenomenon from other paramnesias, but a clear consensus on its definition was not reacheduntil mid 20th century. Since the middle of the 19th century, several dozens ofparapsychological, pseudoscientific and scientific theories have been proposed to explain thedéjà vu phenomenon, ranging from “messages from God” to “delayed neural transmissionspeed”. Most scientific theories can be divided into four categories: dual-processing,neurological, memory and attentional. This paper discusses and compares some of thesetheories. Memory and attentional theories are concluded to have most explanatory power andpotential to demystify the phenomenon through future research.</p>

The term ”déjà vu” was first introduced around the 1890s in order to separate thephenomenon from other paramnesias, but a clear consensus on its definition was not reacheduntil mid 20th century. Since the middle of the 19th century, several dozens ofparapsychological, pseudoscientific and scientific theories have been proposed to explain thedéjà vu phenomenon, ranging from “messages from God” to “delayed neural transmissionspeed”. Most scientific theories can be divided into four categories: dual-processing,neurological, memory and attentional. This paper discusses and compares some of thesetheories. Memory and attentional theories are concluded to have most explanatory power andpotential to demystify the phenomenon through future research.

For my MFA thesis exhibition, I have collected ideas surrounding events that happened in the past and combined them with the ceramic work I have made in the three years of my master's program at Brigham Young University. I have grouped visual elements from Buck Rogers and other Futro (retro-future) pop-culture with ideas surrounding the Voyager Interstellar Mission and the compiling of the Golden Record. Combining these elements in an installation, will create an environment where people can reflect on things they have "already seen" and envision a brighter future. For that reason I playfully call the show Day Jaw Boo, a re-collection and allow the viewers to enter a dream-like-reality-stage of déjà vu.

Depuis 10 ans, se multiplient les tentatives d'augmentation des performances mnésiques humaines par la stimulation électrique intracérébrales (SEIC), mais avec des résultats contradictoires et peu probants. Nous sommes incapables d'activer les réseaux mnésiques de manière reproductible et ne maitrisons pas les effets des SEIC dont le choix des paramètres est empirique. Surtout, les corrélats neuronaux de la mémoire à long-terme que les SEIC sont censées activer restent imparfaitement connus. Dans ce contexte, les phénomènes expérientiels mnésiques ressentis par les patients épileptiques, du déjà-vu aux réminiscences, spontanés ou induits par la SEIC, représentent une véritable porte d'entrée vers les réseaux de la mémoire à long-terme et un modèle pour comprendre comment activer ces réseaux par la SEIC. Ils sont d'ailleurs l'une des sources d'inspiration des essais de la neuromodulation mnésique. Pourtant, ils restent sous-exploités. Nous proposons de les étudier au travers d'une approche multidimensionnelle : (1) Une dimension phénoménologique, analysant la sémiologie de certains phénomènes jusque-là mal explorés, confondus entre eux ou avec le déjà-vu : les réminiscences, le déjà-rêvé et la préscience. Nous nous sommes basés pour cela sur nos propres données et l'analyse de l'ensemble des réminiscences induites par les SEIC rapportées dans la littérature. Nous avons également étudié le cas d'une patiente épileptique avec atrophie sévère bi-hippocampique et préservation du cortex périrhinal ayant développé des déjà-vus et des phénomènes avec préscience récurrents. (2) Une dimension électrophysiologique avec exploration des effets des SEIC sur les réseaux mnésiques à différentes échelles. Nous nous sommes basés sur l'analyse rétrospective des paramètres de SEIC et de leurs effets. Nous avons aussi analysé le couplage fonctionnel entre différentes structures du lobe temporal par un traitement de l'EEG intracrânien au moment des réminiscences induites par SEIC. Nous démontrons que : - Les SEIC peuvent induire une grande variété de souvenirs appartenant aux différents systèmes de la mémoire déclarative (ex. des souvenirs sémantiques ou autobiographiques épisodiques). Mais il s'agit majoritairement de souvenirs peu contextualisés et fragmentaires. [...] / Over the past 10 years, attempts to increase human memory performances by electrical brain stimulation (EBS) led to unconvincing or contradictory results. We are still unable to activate memory networks by EBS in a reproducible way, the effects of EBS at different scales (from neuronal activity to large-scale networks) and the optimal EBS parameters are unknown. Above all, the neural correlates of the long-term memory that EBS are supposed to activate remain imperfectly known. In this context, the memory-related experiential phenomena reported by epileptic patients, like déjà-vu or reminiscences, either spontaneous or induced by EBS, are a gateway to the long-term memory networks and a precious model to understand how to activate them with EBS to improve human memory. However, they remain underused and misinterpreted. Therefore, we studied them with a multidimensional approach: (1) A phenomenological dimension, analysing the semiology of some poorly explored phenomena: reminiscences, déjà-rêvé and prescience. For this, we based our analyses on our own data and all of the reminiscences induced by EBS in the literature. We also studied the case of an epileptic patient with severe bi-hippocampal atrophy and preservation of the perirhinal cortex, who had developed frequent déjà-vu and experiential phenomena with prescience. (2) An electrophysiological dimension with the analysis of EBS effects on memory networks at different scales. We retrospectively analysed EBS parameters and their effects. We also analysed the intracranial EEG to compute the functional coupling between different structures inside the temporal lobe during the brief moments corresponding to the reminiscences. We demonstrated that: - EBS can induce a wide variety of memories belonging to the different systems of declarative memory (e.g. episodic semantic or autobiographical memories). However, most of these are little contextualized and fragmentary. - The activation of memory networks is possible only by some of their hubs, not all of them. Preferential input gates are more easily activated and the qualitative nature of memories depends largely on them. The rhinal cortex seems to be the gatekeeper of these memory networks, where EBS most frequently induce memories. [...]

A obra escrita de Tarkovski e o filme O Espelho são analisados à luz da teoria psicanalítica da interpretação dos sonhos articulando conceitos vindos de outros campos do conhecimento, quais sejam inconsciente ótico e choque em Walter Benjamin. O filme se passa em lugares do passado de Tarkovski, evocados a partir de lembranças encobridoras, sonhos e devaneios, em que o cineasta é espectador e ator. Há a referência, no título e ao longo das cenas, ao espelho, também usado por Lacan, como modelo de dispositivo ótico, ao teorizar sobre a formação da função do “Eu”. Através desta análise, pretendeu-se aproximar a linguagem do filme à linguagem do sonho, encontrando conteúdos oníricos latentes. São analisadas as filiações e influências, o roteiro, e aquilo que fala nas lembranças de infância, nos sonhos e devaneios associados às tradições culturais russas, ao poeta Puchkin e a Dostoievski. Identificam-se aspectos do pensamento utópico e articulações psicanalíticas na cena do devaneio do personagem Ignat. Também são comentadas articulações à estética do choque em Walter Benjamin, nas cenas de déjà vu de Ignat e no fenômeno análogo que acometeu Maria na cena da tipografia. O conceito de Outra cena, do campo freudiano, é contextualizado na discussão do filme e também cotejado com elementos da teoria platônica apontados por Lacan em seus seminários. Finalmente, a cena de levitação de Maria é comparada com a cena da pintura de Füssli The Nightmare e interpretada como sendo de um sonho de angústia. / Tarkovski's written work and the film The Mirror are analyzed in the light of psychoanalytic theory of interpretation of dreams being articulated with concepts from other fields of knowledge, such as optic unconscious and shock at Walter Benjamin’s writings. The film takes place somewhere in Tarkovski’s past, evoked from screen memories, dreams and daydreams, in which the filmmaker is a spectator and an actor at a time. There is a reference, in the title and throughout the scenes, to the mirror, which is also used by Lacan, as the model of an optical device, in theorizing about the formation of the function of the "self". Through this analysis, it was intended to approximate the language of the film to the language of the dream and find latent dreams contents. The affiliations and influences, the script, and what he talks about in the memories of childhood, the dreams and daydreams associated with Russian cultural traditions, the poet Puchkin and Dostoyevsky are analyzed. We identify aspects of utopian thinking and psychoanalytic articulations in the scene of Ignat's daydream. Similarly, articulations among the aesthetics of the shock in Walter Benjamin, in the déjà vu scenes of Ignat and in the analogous phenomenon that rushed Maria in the typography scene are also commented in this work. The concept of Other scene, from the freudian field, is contextualized in the discussion of the film and also compared with elements of the platonic theory pointed out by Lacan in his seminars. Finally, the levitation scene of Mary is compared to the painting scene of Füssli The Nightmare and interpreted as being of a dream of anguish.

A obra escrita de Tarkovski e o filme O Espelho são analisados à luz da teoria psicanalítica da interpretação dos sonhos articulando conceitos vindos de outros campos do conhecimento, quais sejam inconsciente ótico e choque em Walter Benjamin. O filme se passa em lugares do passado de Tarkovski, evocados a partir de lembranças encobridoras, sonhos e devaneios, em que o cineasta é espectador e ator. Há a referência, no título e ao longo das cenas, ao espelho, também usado por Lacan, como modelo de dispositivo ótico, ao teorizar sobre a formação da função do “Eu”. Através desta análise, pretendeu-se aproximar a linguagem do filme à linguagem do sonho, encontrando conteúdos oníricos latentes. São analisadas as filiações e influências, o roteiro, e aquilo que fala nas lembranças de infância, nos sonhos e devaneios associados às tradições culturais russas, ao poeta Puchkin e a Dostoievski. Identificam-se aspectos do pensamento utópico e articulações psicanalíticas na cena do devaneio do personagem Ignat. Também são comentadas articulações à estética do choque em Walter Benjamin, nas cenas de déjà vu de Ignat e no fenômeno análogo que acometeu Maria na cena da tipografia. O conceito de Outra cena, do campo freudiano, é contextualizado na discussão do filme e também cotejado com elementos da teoria platônica apontados por Lacan em seus seminários. Finalmente, a cena de levitação de Maria é comparada com a cena da pintura de Füssli The Nightmare e interpretada como sendo de um sonho de angústia. / Tarkovski's written work and the film The Mirror are analyzed in the light of psychoanalytic theory of interpretation of dreams being articulated with concepts from other fields of knowledge, such as optic unconscious and shock at Walter Benjamin’s writings. The film takes place somewhere in Tarkovski’s past, evoked from screen memories, dreams and daydreams, in which the filmmaker is a spectator and an actor at a time. There is a reference, in the title and throughout the scenes, to the mirror, which is also used by Lacan, as the model of an optical device, in theorizing about the formation of the function of the "self". Through this analysis, it was intended to approximate the language of the film to the language of the dream and find latent dreams contents. The affiliations and influences, the script, and what he talks about in the memories of childhood, the dreams and daydreams associated with Russian cultural traditions, the poet Puchkin and Dostoyevsky are analyzed. We identify aspects of utopian thinking and psychoanalytic articulations in the scene of Ignat's daydream. Similarly, articulations among the aesthetics of the shock in Walter Benjamin, in the déjà vu scenes of Ignat and in the analogous phenomenon that rushed Maria in the typography scene are also commented in this work. The concept of Other scene, from the freudian field, is contextualized in the discussion of the film and also compared with elements of the platonic theory pointed out by Lacan in his seminars. Finally, the levitation scene of Mary is compared to the painting scene of Füssli The Nightmare and interpreted as being of a dream of anguish.

A obra escrita de Tarkovski e o filme O Espelho são analisados à luz da teoria psicanalítica da interpretação dos sonhos articulando conceitos vindos de outros campos do conhecimento, quais sejam inconsciente ótico e choque em Walter Benjamin. O filme se passa em lugares do passado de Tarkovski, evocados a partir de lembranças encobridoras, sonhos e devaneios, em que o cineasta é espectador e ator. Há a referência, no título e ao longo das cenas, ao espelho, também usado por Lacan, como modelo de dispositivo ótico, ao teorizar sobre a formação da função do “Eu”. Através desta análise, pretendeu-se aproximar a linguagem do filme à linguagem do sonho, encontrando conteúdos oníricos latentes. São analisadas as filiações e influências, o roteiro, e aquilo que fala nas lembranças de infância, nos sonhos e devaneios associados às tradições culturais russas, ao poeta Puchkin e a Dostoievski. Identificam-se aspectos do pensamento utópico e articulações psicanalíticas na cena do devaneio do personagem Ignat. Também são comentadas articulações à estética do choque em Walter Benjamin, nas cenas de déjà vu de Ignat e no fenômeno análogo que acometeu Maria na cena da tipografia. O conceito de Outra cena, do campo freudiano, é contextualizado na discussão do filme e também cotejado com elementos da teoria platônica apontados por Lacan em seus seminários. Finalmente, a cena de levitação de Maria é comparada com a cena da pintura de Füssli The Nightmare e interpretada como sendo de um sonho de angústia. / Tarkovski's written work and the film The Mirror are analyzed in the light of psychoanalytic theory of interpretation of dreams being articulated with concepts from other fields of knowledge, such as optic unconscious and shock at Walter Benjamin’s writings. The film takes place somewhere in Tarkovski’s past, evoked from screen memories, dreams and daydreams, in which the filmmaker is a spectator and an actor at a time. There is a reference, in the title and throughout the scenes, to the mirror, which is also used by Lacan, as the model of an optical device, in theorizing about the formation of the function of the "self". Through this analysis, it was intended to approximate the language of the film to the language of the dream and find latent dreams contents. The affiliations and influences, the script, and what he talks about in the memories of childhood, the dreams and daydreams associated with Russian cultural traditions, the poet Puchkin and Dostoyevsky are analyzed. We identify aspects of utopian thinking and psychoanalytic articulations in the scene of Ignat's daydream. Similarly, articulations among the aesthetics of the shock in Walter Benjamin, in the déjà vu scenes of Ignat and in the analogous phenomenon that rushed Maria in the typography scene are also commented in this work. The concept of Other scene, from the freudian field, is contextualized in the discussion of the film and also compared with elements of the platonic theory pointed out by Lacan in his seminars. Finally, the levitation scene of Mary is compared to the painting scene of Füssli The Nightmare and interpreted as being of a dream of anguish.

As our world ramps up the speed of its connections, our identities merge with increasing speed and angles of confluence. Not only are new identities created, but also the more fringe social and cultural elements of our world are exposed to mainstream consciousness. My work is a product of my own fringe background (namely its sheer breadth of experiences not normally visited upon a single person's life). My aim is to add variables to our social and cultural speed of combination and new variety by creating work that is derived from my own experiences to speak to those who are of the newer combinations and newer social recognition. I am motivated to create this work both to perpetually define and redefine myself, and also to give ground to an ‘identity of no identity' on a global scale, to our artistic dialogue and catalog.

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