Memory
From the head of Jove
Ise Shrines, Nagoya, 685–Present
Amassing the archive
What were you trying to protect?
Retained as a quality
The significance of love's burden
Mental infrastructure
Memory prompts
To serve as a reminder
The bloodless ghosts of memory
Can you even call it memory?
In our bodies
Memory & Fantasy
I can't remember
Refuges
The odor of raisins
To fill in the gaps
Homes at Night
The brag document
An Article by Julia EvansIt’s frustrating to have done something really important and later realize that you didn’t get rewarded for it just because the people making the decision didn’t understand or remember what you did.
The tactic is pretty simple! Instead of trying to remember everything you did with your brain, maintain a “brag document” that lists everything so you can refer to it when you get to performance review season!
The primacy of interpretation over sensation
A Fragment by Mark LibermanOur memory of exact word sequences usually fades more quickly than our memory of (contextually interpreted) meanings.
More broadly, the exact auditory sensations normally fade very quickly; the corresponding word sequences fade a bit more slowly; and the interpreted meanings last longest.
These generalizations can be overcome to some extent if the sound or the text has especially memorable characteristics. (And the question of what "memorable" means in this context is interesting.)
On Memory Palaces & Visual Computation
An Essay by Taulant SulkoI now use Are.na as a Memory Palace, separating my channels into rooms. For example, I have a channel that I call the Computation Room. It’s pretty generic and includes any type of block that relates to computation.
If I notice a pattern in the computation room I create a more specific channel in that room. I think of that more specific topic as an object within the room.
Then there are the adjacent topics that I often find even more exciting to focus on. For those, I choose a name that corresponds with the nature of a room and also its size. For example I have a channel called the Visual Computing Observatory. In my head I am imagining an actual observatory where I am looking and observing and studying a given topic.
The Method of Loci
An ArticleFrom the time we learn to walk, we start building up spatial memories—recollections of the layouts of physical spaces and their relationships to the objects in them. These memories tend to form fast and stick around for a long time.
The method of loci hijacks our innate aptitude for remembering physical spaces, using it to help us remember other kinds of information with greater ease.
Derrière les fagots
A DefinitionA fagot is a bundle of branches tied with a string. They used to be kept in a corner of a barn or shed, and people used to hide things (wine, valuables, etc) behind them often for a long time, and forget about them. It is a way of saying that [a thing] is very good, but has been forgotten for a long time and recently re-discovered.
Nototo
An ApplicationThe visual workspace for notes. Humans have incredible visual-spatial memory. Leverage that with Nototo.
Art is memory's mise-en-scène
A QuoteRe-learning to learn
An Article by Erica Heinz- Pause at the end of each chapter and try to recall it (Recall)
- Highlight relevant passages for later comparative reading
- Analyze the book once I’m finished
- Explain it to unfamiliar audiences (The Feynman technique)
- Review topics I care about at regular intervals (Space repetition)
Walking through doorways causes forgetting
A Research PaperEntering or exiting through a doorway serves as an ‘event boundary’ in the mind, which separates episodes of activity and files them away. Recalling the decision or activity that was made in a different room is difficult because it has been compartmentalized.
That the mind may not be taxed
A Quote by Thomas FarnabyIn order that the mind may not be taxed, moreover, by the manifold and confused reading of so many such things, and in order to prevent the escape of something valuable that we have read, heard, or discovered through the process of thinking itself, it will be found very useful to entrust to notebooks...those things which seem noteworthy and striking.
The Sense of Style
Classic style
The guiding metaphor of classic style is seeing the world. The writer can see something that the reader has not yet noticed, and he orients the reader’s gaze so that she can see it for herself. The purpose of writing is presentation, and its motive is disinterested truth. It succeeds when it aligns language with the truth, the proof of success being clarity and simplicity.
The truth can be known, and is not the same as the language that reveals it; prose is a window onto the world.
The assumption of equality
Classic writing, with its assumption of equality between writer and reader, makes the reader feel like a genius. Bad writing makes the reader feel like a dunce.
Nominalization
The English language provides bad writers with a dangerous weapon called nominalization: making something into a noun.
Instead of affirming an idea, you effect its affirmation; rather than postponing something, you implement a postponement.
"Comprehension checks were used as exclusion criteria” would be better said as “we excluded people who failed to understand the instructions.”
“There is not any anticipation there will be a cancellation” would be better as “I don’t anticipate that I will have to cancel.”
Zombie sounds, unlike the verbs whose bodies they snatched, can shamble around without subjects. That is what they have in common with the passive constructions that also bog down these examples.
The curse of knowledge
The better you know something, the less you remember about how hard it was to learn.
The curse of knowledge is the single best explanation I know of why good people write bad prose. It simply doesn’t occur to the writer that her readers don’t know what she knows - that they haven’t mastered the patois of her guild, can’t divine the missing steps that seem too obvious to mention, have no way to visualize a scene that to her is as clear as day. And so she doesn’t bother to explain the jargon, or spell out the logic, or supply the necessary detail.
Structural parallelism
If the new phrase has the same structure as the preceding one, its words can be slotted into the waiting tree, and the reader will absorb it effortlessly. The pattern is called structural parallelism, and it is one of the oldest tricks in the book for elegant (and often stirring) prose.
“He maketh me to lie down in green pastures; he leadeth me beside the still waters.”
You live only once
The logician would argue, You only live once should be rewritten as You live only once, with only next to the thing it qualifies, once.
The logician would be unbearably pedantic, but there is a grain of good taste in the pedantry. Writing is often clearer and more elegant when a writer pushes an only or a not next to the thing that it quantifies. In 1962 John F. Kennedy declared, “We choose to go to the moon not because it is easy but because it is hard.” That sounds a lot classier than “We don’t choose to go to the moon because it is easy but because it is hard."
Such tortuous syntax
How does a writer manage to turn out such tortuous syntax? It happens when he shovels phrase after phrase onto the page in the order which each one occurs to him.
The problem is that the order in which thoughts occur to the writer is different from the order in which they are easily discovered by a reader. It’s a syntactic version of the curse of knowledge. The writer can see the links among the concepts in his internal web of knowledge, and has forgotten that a reader needs to build an orderly tree to decipher them from his string of words.