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memory_code [2021-04-12 12:54] – theunkarelse | memory_code [2023-02-10 10:34] – theunkarelse | ||
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- | ==== Memory | + | ==== Monster |
- | Title of the book by Lynne Kelley. Ways of encoding environmental, | + | //Monster// refers to imagination. //Code// refers to encoding things geographically. The name is an adaptation of //Memory Code// the title of the book by Lynne Kelley, on ways of encoding environmental, |
- | * **our memory for geography**: | + | * monster: **our memory of character**: |
- | | + | * code: **our memory for geography**: |
+ | | ||
- | ==== Hiking with Monsters at Amelisweerd 2021/2022 ==== | + | [[monstercode_intro]] |
- | Notes on a research program in collaboration with Sjef van Gaalen and Creative Coding Utrecht. | + | |
- | === Stage1: Landscape as Mindpalace === | ||
- | === Stage2: Hiking with Monsters | + | ==== Reading notes ==== |
- | ==== Hiking | + | === Stephen Muecke on speaking |
- | Notes an a student program run by Theun. | + | |
- | == Session1 Fieldwork == | + | //“Not only was his (Aboriginal elder Paddy) knowledge not reproduced in books like the ones he nevertheless wanted |
- | * Intro fieldwork practice | + | \\ |
- | * Assignment: what place would you like to explore, how would you do it? | + | 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; |
- | * Assignment 4th year: How do you share that exploration with others? | + | \\ |
+ | But how on Earth does knowledge transfer work without a concept of mind? Understanding, | ||
- | == Session2 What lives here now. == | + | === Biggest Estate |
- | * Intro Nederlands landscape. | + | Bill Gamage, //Biggest Estate on Earth//: |
- | * Set up whatsapp (or otherwise) | + | * pg 126 every part of land, sea and sky must lie on a songline otherwise an ancestor can’t have created it and it would not exist |
- | * Field assignment: find a creature that interests you, < | + | * pg 126 repeat the song exactly because the creator ancestor is listening |
- | * Or what qualities does it have? How do you think it finds its way in the world? Are there talents you share? < | + | * pg 126 from far away they can discuss |
+ | * pg 127 shape signifies life, in death they loose shape, so all things | ||
+ | * pg 127 the soul passes from one chariot to another and this gives creation order, | ||
+ | ==== Hiking with Monsters at Amelisweerd 2021/2022 ==== | ||
+ | Notes on a research program in collaboration with Sjef van Gaalen and Creative Coding Utrecht. | ||
- | == Session3 Regeneration | + | === Stage1: Monster Code, Landscape as Mindpalace === |
- | * Regenerative practices | + | 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 |
- | * < | + | This first phase of the research is about rapid prototyping, |
- | * guest: Vasanth Bosco | + | \\ |
- | * review assignment last week | + | Prototyping phase:\\ |
- | * Field assignment: Take a 1 hour hike from the perspective of your animal. Try to experience | + | * timeline |
- | * Design an exercise for others so they can experience the perspective | + | * timeline of hominids encoded into opposite side of shopping street (each block 1 million years) |
- | * < | + | * mindpalace of damselflies |
- | * Research assignment: What lived in your area before? What traces are left, if any? What do you think is missing now? What qualities does your environment lack? Choose one quality and propose a way it can be regenerated. | + | |
- | == Session4 === | ||
- | * take 4 characteristics or qualities from your animal and give them to a class mate. He/she designs a character based on the qualities and gives you back the ' | ||
- | * take a 1 hour hike with your monster. | ||
- | == Session4 Rewilding | + | ==== Memory Craft, hands-on: ==== |
- | * < | + | |
- | * < | + | |
- | * In groups: what do each of your animals need? Where do their interests match or clash? How could such different needs be brought together? (Multispecies design) (Afterwards give example of Aboriginal totems). | + | |
- | * What timescale do you design for? | + | |
- | * Field assignment: what natural cycles are missing, disrupted? How to reconnect. (Any size, tiny ant tunnel) | + | |
+ | === 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.) | ||
- | == Session5 Team work == | ||
- | * < | ||
- | * < | ||
- | * < | ||
- | * < | ||
- | * < | ||
- | * Group: Choose one of your animals. Make a list of the qualities of your animal. Give them to an other group and they will design a creature (character design, mythological being) based on those. < | ||
- | * field assignment: hike with your Monster through your area: what do you notice from the monsters perspective? | ||
- | * Assignment 4th year: How can the monster / creature activate local people? Or more formally: how can locals people become active participants in reconnecting environmental processes? | ||
- | == Session6 Animals as guides | + | === Lynne Kelly' |
- | * < | + | From Lynne Kelly, //Memory Craft// |
- | * < | + | === First order your data: === |
- | * < | + | No matter |
- | * < | + | |
- | * < | + | |
- | * Choose an environmental process in your neighbourhood. Translate its properties | + | |
- | == Session7 | + | === Repeat: === |
- | * Qualities | + | 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. |
- | * Australia and aboriginals. Tending the wild. | + | * First review: Immediately |
- | * Assignment: memory walk | + | * 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.) | ||
- | == Session8 == | ||
- | * Memory walk field test together. | ||
- | * Assignment: design a multi generational knowledge system. How can our understanding and experience of the environment be shared across time? | ||
- | * (Floppy disc vs. songline) | ||
- | == Session10 == | + | === Don’t worry there is enough detail: |
- | * Discuss the multigenerational knowledge systems. | + | I kept expecting to strike trouble making up images or puns or other ways to make the families |
- | + | ||
- | ==== Reding notes ==== | + | |
- | === Biggest Estate === | + | |
- | Bill Gamage, //Biggest Estate on Earth//: | + | |
- | * pg 126 every part of land, sea and sky must lie on a songline otherwise an ancestor can’t have created it and it would not exist | + | |
- | * pg 126 repeat | + | |
- | * pg 126 from far away they can discuss a tree or creek and who is responsible | + | |
- | * pg 127 shape signifies life, in death they loose shape, so all things | + | |
- | * pg 127 the soul passes from one chariot to another | + | |
- | === Memory Craft === | + | |
- | Lynne Kelly, //Memory Craft//: | + | |
- | === 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. | + | |
=== 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: === |