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memory_code [2021-04-12 20:09] – 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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=== Theun: === | === Theun: === | ||
- | * The first step is looking at what structure / order makes sense for your ' | + | * The first step is looking at what structure / order makes sense for your ' |
- | * Do I store it linearly? (for example a timeline-walk) | + | * Do I store it linearly? (for example a timeline) |
* Or grouped in a mind palace?(for example animal species) | * Or grouped in a mind palace?(for example animal species) | ||
- | * it seems I go through | + | * A mindpalace is more limited to memorising and doesn' |
- | * You may know an area from memory, but going there physically always gives much more lively associations and surprising hooks. | + | * linear / narrative models have a much wider impact than retention of memory, because they help see relationships and patterns |
- | * I make very basic sketches as a shorthand to settle the hooks, associations, | + | * 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. | * This sketching also helps to figure out how much character I need to generate to capture details. | ||
- | * If characters are needed, what action | + | |
+ | | ||
* 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? | * 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 subects, hooks, nodes.. (I observe this even after only two or three weeks of full-on | + | * 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 |
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=== 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: === | === Don’t worry there is enough detail: === | ||
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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: === |