The empiricists see both memory and imagination as drawing on preserved sense impressions. Identifying a marker for the distinction between memory and mere imagination is therefore central to the empiricist theory of remembering. ¹

In music, “mood markers” imply the mood the composer wants to convey by affecting the tempo of the music piece. From these markers I draw a parallel between music interpretation and memory imagination (confabulation).

Starting off seven mood markers, to which I’ve applied alternative meanings in the form of poems, each “identified marker'' imagines a memory made out of archived images as well as drawings and gestures of completion.