經驗產生于記憶,可是,如果記憶的作用是精確再現過去以便為形成知識作出準備,那么能迅速提供信息的現代技術就使這樣的記憶失去了存在的意義。于是,記憶同精確再現的功能拆離出來,并以故事的形式使經驗的交流和相傳得以成為可能。可是,講故事的藝術在信息這種新的傳播形式的挑戰下正在走向它的盡頭。信息運作的實質在于即時性。這甚至導致了印象和觀念之間區分的取消,因為即時信息使一切知覺都成為了強烈而生動的印象。然而,恰恰是印象的過于強烈和生動使得它突破了意識的防護機制,從而作為震驚作用于無意識的層面。震驚印象成為有力而持久的非意愿記憶的組成部分,它打破了信息的即時性以及建基于其上的對事物的透徹說明。不過,試圖將私密而迷人的經驗加以概念化的非意愿記憶是一種本領,它歸屬于講故事的藝術。在講故事的藝術走向盡頭之后,必須考慮震驚印象的另外的形式。這就是電影。電影無法中止經驗的貶值或貧乏,但它使這種貧乏變得復雜了。

Experience generates from memory. However, if memory only serves as an accurate recollection of the past, it is destined to be replaced by modern technology, which can provide information instantly. Therefore, memory is presented in the form of story, which makes it possible to pass on experience across generations. But the art of storytelling is reaching its end due to the challenge of information, a new form of communication. The essence of information is instant verifiability. This even cancels the distinction between impression and idea since instant information renders all perceptions forceful and lively impressions. Yet, it is its force and liveliness that enable impression to break through the protection mechanism of consciousness and act on the unconscious level as a shock effect. As a result, the shock impression becomes integral to the powerful and enduring mémoire involontaire. Nevertheless, mémoire involontaire, as an attempt to conceptualize an intimate and intriguing experience, belongs to the art of storytelling. As this art is drawing to its end, we should consider another form of the shock impression——film. Although films cannot prevent the experience from falling into poverty, they complicate the process.