Systems analysis of visual memory systems

Actually 10 categories with 100 images each.

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Here is Maya’s millenium pao.
I guess , katey system is similar.

Well, I like category system , only when we talking about person list but if we are talking about objects I guess major and ben is better. (It’s my personal opinion, everyone has their own mindset.)

Different categories - Pokemons, disney princess, Marvel , comic character, anime, series, serials, cartoons, famous people, mythology character, video game characters, history …

You can use that 10 list for your main category and make a category System.

@katiek

I have one question because you already tried that system.

I know many characters from different categories.
Currently I have 3 digit letter system and I wanna add and use that character in my system (otherwise they will be useless)

Option 1 - Add that all characters by letters.
And use them in my current letter system.

Option 2 - make a list of characters by assigning them a category.

It will be easier for me to remember 9 is anime.
So 900 - 999 (will be anime)
300 - 399 (marvel)

And so on…

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Hi, the only similarity is that they both involved categories. Mine had 10 categories each of 100 things (people, objects etc.) rather than 100 categories of 10, and was not part of any PAO system.

I really couldn’t advise the use of categories if you want to memorise competitively. Categories are fun and neat but my experience suggests that a purely phonetic system is faster.

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@katiek

In this list mayarra added objects too.
If you interested you can read this.

Updated version of her category system.

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@katiek My efficiency study seems to agree with your experience and experience is always a good proof of a theory which all I can offer at this point.

All these options for peg systems has made me reconsider them as a quite rich set of memory systems and PAO or not doesn’t do them justice. I want make sure to the understand the Millenium system better that @Rajadodve786 mentioned and see if he wouldn’t mind taking a look at my data if he’s interested in being more efficient in his digit memorization systems.

I will not be editing my original post any more and only updating the document (Analysis of systems for digits v1.1.docx) at my github account.

I’m currently working on an analysis of the spectrum of peg systems and will post shortly on that with efficiency metrics I hope.

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@katiek I finished my update of the study I was doing on number peg systems to include 1- and 2-category systems. I have a better summary I think but the results are still much the same. Please grab the current 2.0 or above version of the number pegs analysis.

One question I have for you is what you did with the memory image in both systems after creating it. Did you store it in a memory palace/method of loci background or did you link it together in a story?

Let’s say you used a method of loci for both. Moving from your Major system encoded 1-category 2-digit any data type system (SVE=1.3) to a Ben system encoded, no-category, 3-digit any data type system (SVE=1.0) increased your mental efficiency by about 25% resulting in a faster competition speed.

As you said, categories do not fare well in efficient memory systems in general. One system using a 2-digit style but using a story traversal in the optimum way and not a method of loci did do equally well. I hesitate to recommend even this because I see many people not preparing their systems for story use and relying on the method of loci for enhancements which helps recall.

If you know any competitors that use a story or narrative approach to linking memory images together, I’d love to hear about it. Thanks for your input.

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In studying the efficiency of memorizing digits for competition purposes, I had to understand the structure of peg systems used for digits. I couldn’t find much discussion of the components of a peg system so I named them as I encountered them. Here’s the breakdown from my analysis (Analysis of number peg system v2.0.docx) on my github site which ranks the various systems which I added today.

Peg system construction

Data types

Systems and other terms are described by names defined in my Memory systems summary and Glossary of memory terms found at my Github repo for memory.

Data types are classified into the five basic SEA-IT types:

  • Subject (person, group, organization, role, living thing, fictional character)
  • Enhancements for the subject (tools, costume, expression, shape, size, body features)
  • Action (a strong verb)
  • Inanimate direct objects or items
  • Terrain or location.

Single or multiple data types

A peg system maps an ordered set of data to memory images. The memory image can be a simple data type or multiple unique SEA-IT data types can be built into a more complex visual sentence for easier recall.

The single data type is the first one people learn as in the number pegs associated with the Major system:

# Major system sound Major system peg
0 S, Z saw
1 D, T, TH tie
2 N Noah
3 M ma
4 R rye
5 L law
6 CH, J, SH shoe
7 C, G, K, Q cow
8 F, PH, V ivy
9 B, P bee

In order for a system that uses multiple data types to work properly, each one of the pegs must be unique in the visual sentence. If you were to use a SEA-IT system using the Major encoding system, it might look like:

# Subject Enhancements Action Items Terrain
5 Albert Einstein frizzy white hair is writing math formulas on a blackboard with chalk in a classroom.

The more complete the visual image become by using more of the data types, the less ability you have to add enhancing details to your image in order to associate them with another memory image in a narrative type of traversal. The less complete the SEA-IT structure is, the more you can use more relevant imagery. For that reason, the SA system is useful in creating stories and can be enhanced at will. But the full SEA-IT visual image is better deposited in a location in a method of loci system. The SAI type system, more commonly called the PAO system is a good compromise for using in a narrative story or with the method of loci because of that.

Encoding chunk size

The number of items that are encoded to one data type at a time helps speed up the efficiency of the system. For digits they are known as a 1-, 2-, or 3-digit system. 1-digit systems have a problem with creating overused pieces of data. 2-digit systems require the system builder to provide 100 memory images per data type. And 3-digit systems are difficult to prepare for use because of the complexity of conversion and difficult to visualize because of the practice time involved to keep it in practice.

Different types of rules exist to deal with issues when the encoding chunk size does not evenly fit the system. For instance, using a 3-digit system for a phone number uses one memory image for the area code, another memory image for the prefix and the last four numbers create a problem. If you create a memory image for the first three digits, then the last digit has to be visualized and associated with the other three. What if two digits are left over?

The best way that I’ve seen to handle that is to create a 1-digit system to use with the 2-digit system for leftovers. And for 3-digit systems, you would need complete 1- and 2-digit systems to resolve issues.

Traversal rules

After the memory image is created, it needs to be associated with something for it to be remembered in order. That is the traversal rule that is a choice of whether to use a narrative story or the method of loci type system. In the narrative story, the last image is used to form an association with the next one and if need be, enhancing details are imagined in order to bring the images to life with hooks to allow for better linking up with the next image. The enhancing visual details are usually the remaining data types not being used by the system in the SEA-IT set of imagery.

The other type of traversal method is based on dropping a memory image in a background at a location that is traversed by any rule that has been defined for that type of method of loci. It could be your typical morning preparation routine in your house or it could be a set of significant places along a walking path. In any case, the memory image is in need of another set of ordered containers so that the memory images can be traversed from start to finish for long strings of digits.

The story style traversal works easily for small groups of memory images up to around five to seven so that you can see it as a scene. And after that a method of loci provides connecting backgrounds for more than seven locations. Some people place two or three memory images in each location of a background and a rule is needed to distinguish the order of those images at the same place. It could be a short story associating the two or it could be a rule of a special trait used for the order such as size or shape.

Memory image complexity

The number of items that can be visualized into one memory image is limited by the Miller number which is an approximate value of what is capable of being visualized in working memory. The number of data types that are combined in one visual sentence should be restricted to seven give or take two types. I believe that five is an optimum number to work with but with practice, I’m sure people could push the limit up to seven. The system becomes harder to prepare when minor data types are selected, and five data types take care of most of the systems that people use with 2- and 3-digit systems. A 1-digit system would be able to hold more data types in memory easily but would require more research for each subject.

Data types must be associated to each other to be considered one system. If several are used in combination without an association between them, then the systems are not one system.

Anchor peg type

Data types have a primary association type or a anchor peg type that is used to first arrive at a memory image when mapping digits to the system. Most anchor peg types are subjects and then each data type is related to that subject. The previous example uses the subject of Albert Einstein as the anchor peg type to visualize 55555:

# Subject Enhancements Action Items Terrain
5 Albert Einstein frizzy white hair is writing math formulas on a blackboard with chalk in a classroom.

It could easily be altered to use the word sound of five (L) in the Major system as the anchor peg type:

# Subject Enhancements Action Items Terrain
5 Albert Einstein in locks and chains is listening on a phone to an owl in Louisville, KY

The anchor peg type of the word sound does not lend itself to relevancy of memory images and therefore isn’t as strong as one using a different data type. Using the location as the anchor peg type might produce this set of mapped values:

# Subject Enhancements Action Items Terrain
5 Bill Shoemaker in a jockey’s jersey is riding on the back of a saddled horse on a racetrack in Louisville, KY

Some people do not use a anchor peg type because it makes the system easier to compile by not restricting the choices. This seems especially true when using categories that have no associations to the word sound because it’s a personal preference to put their favorite category first or relate them by various rules that are not consistent. A category for the Major system word sound of eight (f,v) might be physicist but then someone might know pool players more and choose to associate that with the eight-ball.

Index peg systems

If a anchor type is associated with a category that it depends on and is not part of the memory image, it is a separate peg system that indexes this peg system. In our last example, Bill Shoemaker is a horse jockey and the fact that he is in a sport is not relevant to the memory image. It however does tie a prefix of zero to the decoded numbers since sports begins with the Major system word sound of s or z.

Index peg systems can also be indexed which could be called a meta-index system, a super-index, or a two-level index peg system. When used with a SEA-IT set of data, an index peg creates a compound peg system.

The number of SEA-IT visual sentences is expanded from the number of items in the system, ten for a 1-digit, 100 for a 2-digit system, by however many categories you choose up to ten. Theoretically, a 3-digit system tied to a 2-level category index system would produce 1000 * 10 * 10 = 100,000 different memory images.

0 8 5 5 5 5 5
# Category 1 # Category 2 # Subject Enhancements Action Items Terrain
0 Sciences 8 Physicist 5 Albert Einstein frizzy white hair is writing math formulas on a blackboard with chalk in a classroom.
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Hi,
Like many other memory athletes, I use both loci and a story. In Numbers, for instance, I have two images per locus. I also have a fixed person in each locus. The 2 images are visualised in the locus and are connected in a ‘story’ sense to the fixed person and each other. I’d say the story is the most important element for me, but the loci help me to move along spatially so that the stories appear in different places in my mental map of the journey.

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@katiek Thanks for clearing that up. In my words, I would say that you use a method of loci system with an enhanced visual image or a visual sentence that expresses subject, subject’s details, verb, direct object, and possibly a location that creates a scene which is like a mini-story. You use two of those with a locus/location.

I like the word journey to describe a background of loci that have specific locations and could be pre-planned (a marked path) or evolve into a background over time (an art form).

I also found that a method of loci could be done by a narrative where one place leads you to the next like an adventure where you find clues. I thought that this was the nature of a songline that was performed.

If you wouldn’t mind sharing, how are the fixed people connected to your loci so that you can traverse them? Are they also real positions at a place? I really appreciate your help.

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I’m not quite sure I understood the question correctly, but in most cases there is no natural connection between the people and the places. However, I’ve mostly placed the people in the loci in groups, e.g. characters from a TV show have been used in sequence. This helps me move between them easily, but after a short while I get used to the sequence of people anyway, so it doesn’t matter if the choice is random. I’m not sure what you mean by ‘real positions at a place’, but the places are real, yes. I wouldn’t say the people have positions within the locus - I don’t visualise them clearly in there, I just know that that’s where they belong.

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@katiek I think I understand. I see a method of loci as a combination of background, positions, and memory image. So in my house, I have different rooms and in those rooms I have things I connect my memory images to. The rooms can be traversed as well as the things can within the rooms.

There are three types of traversal rules I think can be used. (I’m doing a MoL study next so I’m not so sure right now). I can use a narrative story based on how I get up in the morning from bedroom, to bathroom, to kitchen, to living room, to closet, to laundry room, to office, to family room and finally the garage and driveway (10 places).

I could use a non-narrative rule based on the Major system. Cellar, attic, wine room, master bedroom, armory, hallway, chapel, garage, family room, and bathroom (10 choices). I have two choices for each but one is enough for now. I think it’s confusing to call a room a method of loci because it has but one locus. But when describing a cube method for traversal, that’s what it is. I prefer calling it a marked path.

Then there is the custom or personal traversal. It’s the “I’ve done it this way so long, I don’t want to change” rule. Maybe it’s the way you feel about your family, maybe it’s the amount of time you spend in each place. In any case, it’s difficult to teach a person to use without that personal connection which makes it useful to you.

All of these method of loci systems are “location pegs” where you attach information to a place. It seems to me that you attach your information to your characters that have a custom traversal and I would call a custom set of pegs. And maybe the placement is just the order that you put them in, or the custom rule (sequence) by which you remember them. And it seems that your peg system of characters in indexed by a category set of pegs which also has a custom traversal rule because you know what order they belong in from years of practice.

So to summarize, I would say it’s a 1-category, 2-digit peg system with custom traversal rules that creates the visual images to store. Now, the part I’m unclear on is how you traverse from character to character to recall the sequence of digits. Maybe you could share an example?

Let me propose a fake example to start with. 6 digit chunks create two characters. Category/character + category/character are stored in a position. Let’s say Albert Einstein and Fred Flintstone are the two characters that have to share the position in a background. My background is my house and the living room is the position. Albert has put a chalkboard over the fireplace and is writing and explaining his math to Fred who is sitting on the couch and isn’t getting it, so Al throws the chalk at him. Fred holds up his club to shield himself but could hit the chalk (in motion) to another set of two characters in the same room to continue a story. You could call just this a story but with only two memory images, one takes the subject role and the other the direct object role and becomes a rich visual sentence or a scene.

Now the next six-digit chunk also creates two characters which compose a visual sentence that are stored in another room. Maybe it’s Batman and Dolly Parton in the attic. Batman drives up in his Batmobile, plowing through the boxes in one corner of my attic to pick up Dolly who is singing and dancing around a stored table and chairs up there. Where the Batmobile (in motion) goes is the link to a continuing story if need be.

My question is how you get from the living room to the attic. That’s the traversal of the method of loci or your mental map of the journey. I’m sure there’s a way to involve the Terrain/Location of the visual images in there as well. Would you connect the classroom of Albert or the Batcave in there in any way?

And I apologize for writing during what must have been intense training for the Pan-American Open. Thanks for your gracious responses. And congratulations for your performance there!

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Great, @thinkaboutthebible Before 2021 I thought there’s no system analysis expert here, except josh. After reading some of your posts recent months, I consider you are a meticulous system instructor here. Gladly welcome you again, I hope to read more analytical posts from you. Well done :+1:t2:

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I’m just trying to understand what’s going on here and appreciate your encouragement. I’ve been fortunate to have had a good analysis background. Thanks!

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Hi, I don’t mind explaining my particular method at all if you feel it’s interesting or useful. You’ve put a lot of work into your analysis and I find it fascinating.

Firstly, I wanted to clarify something because you mentioned a ‘category set of pegs’ which I didn’t understand. The loci and fixed people are what could be called pegs, and the images (resulting from the digits/cards, using whatever system - Ben, category etc.) are attached to those pegs during memorisation.

In short, I use a traditional journey method but simply have a permanent person in each location.

I don’t have any background/position concept as you describe. I simply have a list of locations, whether that’s rooms or objects within a room, or outdoor sites. In journeys that are within houses, it would be a sequence based on position (moving between adjacent rooms - downstairs first). In journeys that are based on holidays I’ve been on, the sequence would primarily be based on time (airport locations first, then hotel locations, then locations at the first place I visited etc.). I guess you’d call that a narrative traversal (but within the hotel, for instance, I’d move in a position-based sequence). In journeys around a town, I also just move in a logical sequence based on position.

And the fixed people… Sometimes they are related to the location (e.g. I might put a person in the place where I first met them, or where they live), but usually not. I often use connected groups of people (e.g. characters from a TV show appear in sequence, organised by family or order of prominence). The fixed people help me remember the journey and vice versa, if that makes sense.

In my Binary journey, for example, which mostly takes place in Japan, I know that the characters from How I Met Your Mother are placed around Kyoto. Ted Mosby is in a street close to Ginkakuji (a temple), then there’s a path (where I find Robin) leading up to the temple. At Ginkakuji itself, I see Marshall. Then Lily is standing under the trees near the temple… and so on.

If I have to remember the sequence 165-970-578-047 (tail/peas/leaf/sock), I might imagine Ted with a tail, swishing it around in some peas on the ground, then Robin wearing socks with a leaf pattern.

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To chime in, I also use a 3 digit system for numbers. It’s based off the major system. I have a unique image from 000-999 and place 2 images per location. The first image interacts with the second image in that location. That’s it in a nutshell!

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@BradenExplosion, great to have you in the conversation! You’re also a great memory athlete so getting input from you is very interesting and useful. I’m working up a reply to @katiek still but would be interested to know what kinds of journeys/marked paths that you use and how you know how to get around in them. That seems to be my next area of interest for analysis.

@katiek has a subject at each location to help tie in the memory image of the digits. Do you use any enhancements to the location to help visualize it? And then there is the traversal method for moving from one location to the next. @katiek uses somewhat of a custom personal order but maybe you use a more methodical method following exits on a highway.

Thanks for participating!

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@katiek, I do find it immensely interesting. I’ve got a bent for data structures in programming which put many of my students asleep. :sleeping: I appreciate being able to see into the mind of an excellent memory athlete since I’ve just started reaching out to people here. I use many unfamiliar terms, I realize, so I’ll do my best to explain.

You don’t use what I call a category set of pegs or an index peg. If you had used Ted M to encode an extra digit, he wouldn’t be able to be associated with Kyoto. Instead, as a part of HIMYM, with a 1-category peg system you might have known that television show as representing a category 3. A 2-category system might encode TV shows as a category 1. Then 13165 becomes the TV show HIMYM with Ted and his tail swishing his peas. Of course, the difficulty level increases 10x as you design different TV shows with characters to swish peas with their tails. That’s why it’s not as efficient.

Instead, you’ve reinforced your method of loci system with characters which I think is a fantastic idea. I hadn’t recognized why they were important before. Indeed, any system is visually better when you enhance it with more detail from the SEA-IT categories. All the method of loci systems are pivoted, or use a base data type, around the Terrain/Location category. The PAO system is pivoted around the Subject/Party/Person when done traditionally. Most simple peg systems are pivoted around the Item/Object category but would improve with your characters (Subjects) also.

I would dread having to teach people to associate the Major system number pegs without assistance from other data types. “Today, we’ll imagine the number 03 with the pegs saw and Ma.” It could get ugly. Now with a lumberjack character sawing in the forest, and Ma cooking in her kitchen, he’s merely getting firewood for the stove.

I’ve come to believe that preparing a compound visual made from five different visual data types is the best. I like to call that a visual sentence because it uses the subject-verb-object structure. Existing TV and movie characters come with much of that pre-populated. Historical characters are weaker unless we’ve seen a documentary or a play that brings them to life. The subject usually has enhancing details and actions they are known for. Then there’s the items they interact with, and finally the sets they commonly perform on. Ted M is an architect, has romantic ventures, and other great narrative detail to use to imagine scenes at locations. Is he on his way to admire the architecture of the Ginkakuji temple where Marshall will join him? Or is he waiting for someone on that street for a date?

You’ve given me an excellent image of your system with backgrounds and locations. When you say that your journey mostly takes place in Japan, you are using Japan as your background. The rest of the places in Japan are the locations. A room/location has the hooks that let us place memory images in them with their detail. As I understand it, if there’s no hook, it’s not a location. The locations are traversable like walking down the road to a new spot with some memorable features that are useful because it provides new hooks.

The two types of journeys depend on how you think of moving between the locations. If you somehow connect the characters as they meet and act out a script, it’s more of a narrative adventure. If you rely on the specific physical connections of the street, to path, to temple, then it’s more of a marked path. There’s no reason why they can’t be blended to improve the ability to link them. For many people, the path is the sole glue that holds the journey together. But who wants to see just a travelogue when you can meet the people doing interesting things at each stop? Visual sentences, like scenes of a play, are the better way to develop any strong memory image system.

I’ve got a difficult time with the word locus. From the original text, it’s not clear whether it’s more of a background or a location but I tend to think it’s the former. But our common usage is more of the latter. I prefer to stay away from using the term until I get a better handle on it.

Because of your last paragraph where you naturally think of the character first, I think that you could almost say you have an enhanced PAO system (a PAIL system some say) with locations as the pivot or base type instead of the other way around as a journey with characters. Most PAO systems use the number and its related visual image to pivot and traverse with but it’s not always necessary and your locations are well-linked through proximity.

I like to connect pegs in a system for the ability to traverse also, but I didn’t fully understand why when I started using them. Objects of my number pegs suggested a location that was part of a background for many of the Bible chapters. The background was the book, three or four characters or objects visualized from 2-digit number pegs developed an imaginary location where they enacted a scene or visual sentence, and the locations had narrative logic to help me remember them in order. It doesn’t have any physical locations or TV shows so I had to write up a fairy tale of a story to link them together.

Anyway, thanks for giving me some grist for my mill. I hope this somewhat clarifies my thinking on analyzing your winning style of system.

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My recent conversation with @katiek and past conversations with @LynneKelly has encouraged me to simplify and bring my summary of systems in line with common terminology if possible. It was always a little uncomfortable but I’m much happier now.

Visual memory systems summary

DTM profile

The classification of a memory system can be made in three broad categories:

  • the data type that anchors the memory image,
  • the traversal style, and
  • the maturity of the memory system.
Data type anchor

Each type of memory system builds a stored memory from many data types and one is more often used to access the memory or trigger the memory as it is recalled. In the system, this is the anchor that all memories have in common as a data type. The anchor is then used to associate to another anchor for the traversal method.

Traversals

Traversal is a method by which you can make sure that all images in a related group will be recollected in order as they were stored. It is an ordered path from one memory image to another.

There are three types of traversals:

  • no traversal (each memory image is independent)
  • narrative traversal (each memory image depends on the previous memory image)
  • rule traversal (each memory image is ordered by a memory image component rule)

If there is no ordering of memory images, then each memory image would be retrieved independently from any other memory image much like a dictionary is used to look up word definitions. Even though it is ordered, the word that follows is neither useful or in any way associated with the previous word and no one would be interested in knowing all the words that start with a certain letter (at least someone disinterested in pushing the limits of a mnemonic system).

The narrative traversal is a way to connect one memory image to the next by creating some imaginative logic that associates the two commonly found in literature and performing arts. The first memory image could be considered a key to the following value of a memory image. But then the value becomes a key to the next memory image. This system is sometimes referred to as a doubly linked list for the ability to traverse forwards and backwards in the chain.

The rule traversal method uses a pre-selected set of memory images to which memory images can be associate to. Any kind of data type can be used if the order is followed consistently so that the images can all be covered when being traversed. Traversal rules are unique to each type of memory system.

Maturity

The first type of memory system that is usually needed is a dynamic style where information is stored and used as it is acquired and blended into a system. Pieces of information are understood and chunked using the imagination to organize it. It is a way to immediately respond to all the input in way that involves a learning or creative process as new pieces of information are blended in. The ordering can change and there could be an expectation of using the system for short-term timespans.

If a dynamic style system has been used for some time and stopped evolving or needs to be communicated, it must be formalized into a static style and made more easily remembered. This means that the knowledge being stored is known beforehand so is applicable to a previous dynamic system or a system where the information is an unchangeable body of knowledge. Then it is a system for long-term use including using and teaching others in a rational way and becomes an important knowledge tool.

Static styles from what I’ve seen evolved from a story-telling narrative style to having a structured rule-based style that the sciences encouraged, and technical training depended on. Rule-based knowledge was easier to store as computers became substitutes for knowledge management systems.

Memory image components (SEA-IT)
  • Subject (person, group, organization, role, living thing, fictional character).
  • Enhancements to the subject (tools, costume, expression, shape).
  • Action (a strong verb).
  • Inanimate object or items being acted on.
  • Terrain or location and time.

Using all five memory image components creates a vivid image more easily remembered. It can also be called a visual sentence since it is directly related to the construction of a sentence in English. An association from a memory image can be made to any part of the visual sentence. But the tie to a subject, its enhancements, or its action is usually tied to all three.

The simpler the system is, the less components are used. Systems that associate consistently with a component are anchored to that data type or sometimes a rule is used to provide anchor guidance.

Some data types may evolve to be other data types depending on the need of the memory image. Inanimate objects are easily animated to be subjects and even a location can spring forth a type of character to activate a memory image.

Time is mostly an unused type of data type but seems associated to location the most by way of seasonal changes, fruit production, water availability and period of habitation.

Dynamic narrative Static narrative Static rule
Subject + Enhancements + Action Interpretation. Images suggest narrative logic driven by subjects. Story. Images use relevant narrative logic driven by subjects for traversal. Ceremonies, literature, films, sequential art. Person pegs. Images are anchored to a set of ordered people. PA and PAO systems.
Item-Object Puzzle. Images suggest narrative logic driven by object features. Objects at a crime scene. Memory object. Images use relevant narrative logic driven by object features for traversal. Stonehenge, lukasas, winter counts, quipus. Object pegs. Images are anchored to a set of ordered object features. Number pegs.
Terrain-Time-Location (method of loci) Dreaming. Images suggest narrative logic driven by locations. Journey. Images use relevant narrative logic driven by locations for traversal. Songlines tied to Country. Palace. Images are anchored to a set of ordered locations. Location pegs.

The current version of this summary can be found on my github site.

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After completely rethinking my visual memory systems, I had to rewrite much of my glossary also to make sense. It has several new concepts in it and explains my terminology in the most detail. The current version of this major update can be found on my github site.

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I am doing a mip about arithmetics, in which I am reciting about 3000 random 2 digits multiplication , to achieve ~>= 1 second per question.
This skill is much useful than reciting Pi, I believe.
Indeed, it can be used in division as well.
If I have finished the task, I might share the details.

Currently had only recited 30 groups of r2dm, in other words it’s 240 digits. In the near future, I will encounter my next doomed, scarce in mp.
Anyway, it’s my extra challenge and in parallel with Names challenges ya.
\\\٩( ‘ω’ )و ////

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