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memory_code [2021-04-12 12:54] – theunkarelse | memory_code [2021-08-07 05:55] – [Memory Craft, hands-on:] theunkarelse | ||
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* **our memory for geography**: | * **our memory for geography**: | ||
* **our memory of character**: | * **our memory of character**: | ||
+ | |||
+ | [[monstercode_intro]] | ||
==== Hiking with Monsters at Amelisweerd 2021/2022 ==== | ==== Hiking with Monsters at Amelisweerd 2021/2022 ==== | ||
Notes on a research program in collaboration with Sjef van Gaalen and Creative Coding Utrecht. | Notes on a research program in collaboration with Sjef van Gaalen and Creative Coding Utrecht. | ||
- | === Stage1: Landscape as Mindpalace === | + | === Stage1: |
+ | Monster Code explores techniques for encoding environmental knowledge directly into the environment itself. Imagination (monsters) and geographic memory are key pillars this builds on. Basically associating knowledge to features and hooks in the landscape, by the power of imagination and story. That power is considerable, | ||
+ | This first phase of the research is about rapid prototyping, | ||
+ | \\ | ||
+ | Prototyping phase:\\ | ||
+ | * timeline of presidents encoded into shopping street | ||
+ | * timeline of hominids encoded into opposite side of shopping street (each block 1 million years) | ||
+ | * mindpalace of damselflies | ||
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* Discuss the multigenerational knowledge systems. | * Discuss the multigenerational knowledge systems. | ||
- | ==== Reding | + | ==== Reading |
+ | |||
+ | === Stephen Muecke on speaking with Paddy Roe === | ||
+ | |||
+ | //“Not only was his (Aboriginal elder Paddy) knowledge not reproduced in books like the ones he nevertheless wanted to write with me, but it had nothing to do with authorship. Knowledge didn’t originate with individuals, | ||
+ | \\ | ||
+ | As Paddy and I were walking the beautiful coastline north of Broome, he would point out things, tell stories, call out to ancestors, and sing songs that belonged to particular places. The songs were important because they were inspirational (in the original Latin sense of a truth being breathed into someone). Their significance was, and is, multiple: they are handed down from ancestors; they tie human and nonhuman worlds together and animate those connections; | ||
+ | \\ | ||
+ | But how on Earth does knowledge transfer work without a concept of mind? Understanding, | ||
=== Biggest Estate === | === Biggest Estate === | ||
Bill Gamage, //Biggest Estate on Earth//: | Bill Gamage, //Biggest Estate on Earth//: | ||
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* pg 126 from far away they can discuss a tree or creek and who is responsible for it | * pg 126 from far away they can discuss a tree or creek and who is responsible for it | ||
* pg 127 shape signifies life, in death they loose shape, so all things with shape have soul / Julian Barbour geometry is fundamental to the universe | * pg 127 shape signifies life, in death they loose shape, so all things with shape have soul / Julian Barbour geometry is fundamental to the universe | ||
- | * pg 127 the soul passes from one chariot to another and this gives creation order, it moves through a particular set of things created by the same ancestor in the Dreaming. | + | * pg 127 the soul passes from one chariot to another and this gives creation order, it moves through a particular set of things created by the same ancestor in the Dreaming. |
- | === Memory Craft === | + | * |
- | Lynne Kelly, //Memory Craft//: | + | ==== Memory Craft, hands-on: |
+ | |||
+ | === Theun: === | ||
+ | * The first step is looking at what structure / order makes sense for your ' | ||
+ | * Do I store it linearly? (for example a timeline) | ||
+ | * Or grouped in a mind palace?(for example animal species) | ||
+ | * A mindpalace is more limited to memorising and doesn' | ||
+ | * linear / narrative models have a much wider impact than retention of memory, because they help see relationships and patterns | ||
+ | * usually there is a process of a few days figuring out what the most useful ordering might be and small tests with 5 or so elements trying out ways of encoding. | ||
+ | * You may know an area from memory, but going there physically always gives much more lively associations and surprising " | ||
+ | * I make very basic sketches as a shorthand to settle the hooks, associations, | ||
+ | * This sketching also helps to figure out how much character I need to generate to capture details. | ||
+ | * What you are aiming for basically is little " | ||
+ | * If characters are needed, what activity and prop can I give them? (these really help to enliven and thus make stronger the " | ||
+ | * Later in the process I can see if I need extra emphasis using the physicality of make visible or tangible artefacts to endorse the memories? | ||
+ | * Lynne says that once established you will be inclined to do additional research on your subjects, I can confirm that. Making a mind-palace or walk, does trigger curiosity and you start to add more and more details into your subjects, hooks, nodes.. (I observe this even after only two or three weeks of full-on engagement.) | ||
+ | |||
+ | |||
+ | === Lynne Kelly' | ||
+ | From Lynne Kelly, //Memory Craft// | ||
+ | === First order your data: === | ||
+ | No matter what topic you choose, as soon as you have your information structured into some sort of order, you are ready to go. | ||
=== Repeat: === | === Repeat: === | ||
- | I make new associations at a rate of perhaps a few a day, and revise them later that day, the next day, in a week, and again in a month if I need to. | + | I make new associations at a rate of perhaps a few a day, and revise them later that day, the next day, in a week, and again in a month if I need to. |
+ | * First review: Immediately | ||
+ | * Second review: 24 hours later | ||
+ | * Third review: One week later | ||
+ | * Fourth review: One month later | ||
+ | * Fifth review: | ||
+ | (Theun: I do at least 5 to 10 reviews the first days for longer sequences, before it really starts to settle, but apparently with practice this becomes quicker.) | ||
+ | |||
+ | |||
+ | === Don’t worry there is enough detail: === | ||
+ | I kept expecting to strike trouble making up images or puns or other ways to make the families and species memorable. But whenever I pondered for a moment, playing with the name and letting my mind wander, I always found a link to the bead or shell, or the position on the board, or the grain of the wood. | ||
=== Naming places: === | === Naming places: === | ||
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* Sixteen members of the duck family needed to be attached to one bead, which took a story. The story became a tale of a football match that ends in a massive brawl. The names of the first eight ducks became the players involved in this fight. Two tea ladies came onto the field at half-time (the grey teal and the chestnut teal) and the Australasian shoveler dug graves to bury the dead. The musk duck wore musky cologne for seduction in the stands, while the hardhead duck clobbered the pink-eared duck around the ears and left others black and blue with bruises, the blue-winged and the blue- billed ducks. | * Sixteen members of the duck family needed to be attached to one bead, which took a story. The story became a tale of a football match that ends in a massive brawl. The names of the first eight ducks became the players involved in this fight. Two tea ladies came onto the field at half-time (the grey teal and the chestnut teal) and the Australasian shoveler dug graves to bury the dead. The musk duck wore musky cologne for seduction in the stands, while the hardhead duck clobbered the pink-eared duck around the ears and left others black and blue with bruises, the blue-winged and the blue- billed ducks. | ||
* I chose to remember the sixteen ducks in that order because those close to each other in the narrative are also similar scientifically. Those in the same genus I turned into partners, like the two tea ladies. Those tags just give me a bit more information. I now have sixteen duck-characters on which to build with more and more information about their identification and habits. | * I chose to remember the sixteen ducks in that order because those close to each other in the narrative are also similar scientifically. Those in the same genus I turned into partners, like the two tea ladies. Those tags just give me a bit more information. I now have sixteen duck-characters on which to build with more and more information about their identification and habits. | ||
- | |||
- | === Don’t worry there is enough detail: === | ||
- | I kept expecting to strike trouble making up images or puns or other ways to make the families and species memorable. But whenever I pondered for a moment, playing with the name and letting my mind wander, I always found a link to the bead or shell, or the position on the board, or the grain of the wood. | ||
=== Tactile works too: === | === Tactile works too: === | ||
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* It may be that the original Neolithic balls were painted to make each knob different. I haven’t found this necessary. With use, I found that each knob is uniquely identifiable. This might be due to its position in my hand as I hold the ball or the slightly different feel as I touch it. I use a ball for short songs from many of my memory experiments. And on another ball half is for my language songs (French, Chinese). The other half is for world geography, where I use a knob for each verse. For example, my Africa song has four verses that are encoded to four sequential knobs. In the verses I move clockwise around the continent, occasionally jumping inward. | * It may be that the original Neolithic balls were painted to make each knob different. I haven’t found this necessary. With use, I found that each knob is uniquely identifiable. This might be due to its position in my hand as I hold the ball or the slightly different feel as I touch it. I use a ball for short songs from many of my memory experiments. And on another ball half is for my language songs (French, Chinese). The other half is for world geography, where I use a knob for each verse. For example, my Africa song has four verses that are encoded to four sequential knobs. In the verses I move clockwise around the continent, occasionally jumping inward. | ||
- | * I work around each carved ball over a week or so, singing each song in the sequence defined by the wooden balls. I sing in the shower, when cooking or gardening, or while walking in the bush. Every few months at least, each song will be sung. It is my ceremonial cycle. | + | * I work around each carved ball over a week or so, singing each song in the sequence defined by the wooden balls. I sing in the shower, when cooking or gardening, or while walking in the bush. Every few months at least, each song will be sung. It is my '**ceremonial cycle**'. |
=== Greek mythology, objects on a tiny stage: === | === Greek mythology, objects on a tiny stage: === |