I recently finished reading The Knowledge Gene by Lynne Kelly.
Like Memory Craft and The Memory Code, I think anyone who is into mnemonics is going to find a lot of ideas in the book.
It took me a long time to finish the book, because I kept getting inspiration for some memory projects and would run to an art supply or craft supply store to pick up more materials. 
From the bookās description:
Drawing on a major discovery with tremendous implications, an Australian researcher uncovers the source of human creativity and learning in the functioning of a supergene she calls the knowledge gene.
Over 500,000 years ago, a single gene mutated. It spread over time, becoming critical in the journey that transformed our earliest ancestors into fully modern humans, capable of navigating the entire planet and beyond.
A few thousand years ago, humans started outsourcing knowledge to writing, displacing art and music from the heart of learning.
This is the extraordinary story of a gene that makes us uniquely human. Dr. Lynne Kelly recounts how a widespread congenital disorder was the critical clue she and her collaborators needed to identify this gene as the supergene that has long eluded researchers into human cognition.
The knowledge gene supercharged our ability to learn and share knowledge with others, explaining the prodigious memories of Indigenous people the world over. The knowledge gene unlocks many other puzzles, too. It explains for the first time why humans are the only species to make art, offers new insights into the earliest music and storytelling, and discusses the cognitive strengths of neurodivergent people.
The Knowledge Gene shows that we can all access the full power of our memories, without giving up any of the advantages of writing and technology. The implications for learning and creativity at any age are profound.
Thereās a section on neurodiversity (adhd, autism, dyslexia, aphantasia, etc.) and other conditions like myopia, red-green color-blindness, and deafness.
There are interesting ideas in the book on turning schools into memory palaces and using memory techniques in classrooms like memory-boards (lukasas/nkasa):
I am convinced that every school should set up a permanent memory palace. This need not involve any physical changes in the school. All that is needed is a map that numbers locations throughout corridors and the school groundsā¦
Multiple layers of data can be included at any location, so the same palace can be used by different classes. Poles can be painted and corridors decorated with knowledge. Performances can take place at all the memory sites, which will then take on the feel of being sacred, special and worth protecting. You donāt need a stage. Song, dance, story and art will permeate the school as it becomes a massive knowledge spaceā¦
I have witnessed underachieving students thrive when given a memory palace to encode and recall.
Other interesting excerpts:
The implication is that a myth is a fictional account. Western culture divides narratives into fiction and non-fiction, and never the twain shall intersect. But English simply doesnāt have a suitable word for stories that encode knowledge and whose historical veracity is often irrelevant. Many of the stories are clearly historical accounts, while others are obviously metaphorical. Some are neither. All are adapted to the performance nature of the knowledge system and to current political and cultural needs
It is also important to note that a large proportion of Indigenous designs consists of dots, circles, spirals, chevrons, arcs, lines and a huge variety of other abstract forms. Abstract designs allow a multiplicity of meanings to be encoded into the same image. Complexity can be added as knowledge is taught at more and more restricted levels. Information that must be kept accurate is usually restricted, and tends to be encoded with abstract symbols. Abstraction also enables a highly adaptable knowledge system. Meanings can be constantly updated and enhanced in a way that is far more difficult with representational symbols
In Australian Aboriginal cultures, it is common for storytellers to draw on the ground. Symbols are drawn with fingers, while leaves, twigs and various objects are used to embellish the canvas. This āsand talkā adds complexity and commentary to the story being related. At times, these images remain during the telling, creating a dynamic canvas stretching over a hundred metres. This scroll of scenes functions very like the narrative scrolls from Asian culturesā¦
I have yet to find a culture that does not use portable objects to encode knowledgeā¦
The book also mentions the Bradshaw Foundation website that contains a lot of images of rock art and other resources:
I spent a bit of time looking up things that were mentioned in the book, like rongorongo glyphs, which might provide some inspiration.
