Adding layers to a memory palace & The Eastern Curlew

I had a lovely time at the Stories of Influence writers’ festival at Lake Tyers in Gippsland, Victoria. With indigenous and non-indigenous participants, the role of story and art in all sorts of cultures dominated the weekend’s activities.

After delivering a worksop and talk on memory methods, I was part of a panel about writing. One of the highlights of the festival was meeting Harry Saddler, sitting next to me on the panel.

Harry is the author of the fascinating book, The Eastern Curlew. This book and meeting Harry gave me a terrific opportunity to add another layer to my bird field guide, which I have encoded to a lukasa.

The same approach works for layering any new knowledge. You need the memory structure (memory palace, songline, memory board …) in place first. I have described the lukasa before. It is a memory board adapted from those used by the African Luba people. It functions just like a miniature memory palace.

I use this lukasa as a field guide to the birds of Victoria which I use all the time when out birding. I don’t need it with me – it is all in memory. I first encoded all the bird families and species. Now I am adding all sorts of information about each species. Layer upon layer.

The Eastern Curlew is in the Sandpiper family, Scolopacidae. My story for the 25 species is about a band playing at a beach party. The Sand Pipers. I remember the family name by imaging that you have to pass under a pole (the old limbo dance) to get in. The tell you to sco-low-[to]-pass.

The family is associated with the red bead on the bottom, to the right hand end of the lukasa. The Eastern Curlew is the 9th species – all the curlews are curly haired attendees at the party.

I then add details about the Eastern Curlew to the character in the story. The fantasy and the real facts just make it memorable. My brain never confuses the two. It does play with the images, though!

See that Eastern Curlew feather that Harry is holding? He showed me the wear on the edges. That feather flew with the curlew for over 10,000 km. They are the most extraordinary migrators – from here in southern Australia to Russia and suchlike. Incredible.

The migration behaviour has just fleshed out my Eastern Curlew character at the beach party. He now flies in from a great distance to get to the party – as do many of the other species. I am slowly adding details of the migrations to the family members – those who stay here to breed (some wild things go on at this beach party) and those who travel great distances to do the same thing.

The more that you play with the knowledge in your memory palaces, the more beautiful, imaginative, fun and informative they become.

Spanish “Stonehenge”

There are so many sites nicknamed with the tag “Stonehenge” that I have not had time to explore them all. When the “Spanish Stonehenge” hit the news in recent weeks, I was pointed to the reports by many readers of The Memory Code. They could all see so many of the signs that this site was used as a memory palace, a restricted knowledge site.

Many pointed me to the article linked to the image above, 5,000-Year-Old Temple Emerges from Underwater in Spain by Ashley Cowie in Ancient Origins.

People see the same properties as Stonehenge in monuments well separated in space and time because there is one single common factor and that is the way the human brain memorizes information.

The Spanish Stonehenge is more likely a dolmen than an open circle – that is a covered, restricted space. I explain in The Memory Code why restricted spaces are essential for elders to retain accurate information over long time spans. That is why all non-literate cultures have them. Labelling a site as a “temple” leads to assumptions that the space had a single religious purpose, and often that its primary purpose was for burial. Indigenous cultures do not separate the spiritual from the mundane. It is Eurocentric thinking which limits interpreting the purpose of monuments to religious and the ubiquitous ‘ritual’ purposes.

Cultures without writing are dependent on memory to store all their knowledge. Without exception, every indigenous culture I studied right around the world used a similar range of memory techniques. These have evolved everywhere because they match the way the human brain stores information, as described in Memory Craft. We are all working with the same brain structure.

Memory palaces are the most effective mnemonic technology known and used in some form by non-literate cultures across the world. In a memory palace, information is associated with each location in sequence. The engravings within the dolmen, on each of the megaliths, would create a perfect memory palace.

Dolmens are assumed to be burial places. Although burial may be one purpose, all non-literate cultures use restricted performance spaces for initiated elders to ensure knowledge is preserved accurately, especially pan-generational knowledge of survival strategies in time of severe resource stress. The few remains, if any, found in most dolmens, would indicate a location for an elite, such as the knowledge elders. Knowledge and power correlated in oral cultures.

Restricting the songs and stories which encode information avoids corruption of data caused by the so-called Chinese whispers effect. A combination of public and restricted performance spaces is implied here by the open and restricted spaces. This combination is found in oral cultures around the world.

Placement of ceremonial structures near rivers is also a constant all over the world. Large gatherings need water and food, trade routes, while rivers are critical landscape features. Vivid stories, as represented in mythology, are a fundamental method for making abstract and mundane information memorable. Without a continuous culture linked to the monument, there is no justification for interpreting the engraving as a serpent, as a protector.

The idea that such monuments are “thought to have been temples of sun worship” because of astronomical alignments is also demeaning to indigenous cultures. The term ‘worship’ implies that non-literate cultures live in a fog of superstition. They simply would not have survived if that was the case. All the cultures I researched, and talked with, were hugely pragmatic and used the movement of the sun to create a calendar to ensure optimum use of resources and maintain their ceremonial cycle. That is not to deny a spiritual aspect, but to deny an exclusively sacred purpose. Ceremonies are an imperative to ensure practical and cultural information is performed regularly so that it is retained and conveyed.

The idea reported that the elongated wavy engraving on the megalith at the entrance corresponds to the passage of the Tagus River is a very exciting development. A map of the river is exactly what would be expected. We have ample evidence from Australia, where we have a continuous oral culture dating back about 60 000 years, that art was often used as a memory aid to maps. The same can be found in cultures from Africa, the Americas and the Pacific.

One of those who wrote to me was Alyssa McMurtry, who also wrote Drought Has Revealed Spain’s Long-Submerged ‘Stonehenge’: Up close with the 7,000-year-old Dolmen of Guadalperal for Atlas Obscura.

Alyssa interviewed Angel Castano, the local historian. She told me:

From what he had previously learned about the menhir at the entrance, there was a snake carved into it that was assumed to be a serpent guarding treasures. Since that was a dominant theory, that’s what he was telling the media when the dolmen first emerged from the water. But after seeing the actual stone and consulting with the original drawings made by German archeologists who discovered it in the 20s, he figured he’d have to close an eye, spin around and use a whole lot of imagination to see a snake in the carving. However, in looking at what was supposed to be the snake, his intuition told him that it may be the Tajo River. He rushed to find an old map of the area before the river had been flooded, and just last night he realized that the squiggly line, once considered a snake, corresponds virtually “100%” with the course of the river. Below is an image he sent me using an old map and the original archeologists drawing of the menhir! I told him your theory and he liked it a lot. Although still unproven, I think his idea of it being a map, not an unjustified protector as you say, goes to show that when approaching indigenous artifacts from the lense of “how was this actually practical, how did it help them survive?” you can come up with a lot more compelling (and interesting) answers than assuming it’s all kooky religious nonsense!

Love it, Alyssa!

Memory Craft – I have the advance copy!

I am so excited that the advance copy of Memory Craft has arrived. Details of the contents can be found here!

Only a few weeks now until the June 3 publication by Allen & Unwin.

The launch will be help at Castlemaine Library at 5:30 pm on June 13. To be launched by Dr Duane Hamacher, with talk on memory methods. Booking will be available through their website very soon. If you are coming to the launch and want to join us for dinner afterwards, please contact me through the contact form and I’ll let you know what’s happening.

Memory Craft is available for pre-order through Book Depository (world wide) and Booktopia (Australia only) among others.

The Memory Code in Czech (and a new tag)

I am delighted to announce that The Memory Code is now available in Czech – alongside the English and Chinese editions. Click on the image for the link to this site where there are more details. If I could read Czech I could tell you more.

I eagerly await the day when I will hold a copy in my hand.

I also look forward to being able to get a good resolution on the cover image. All good fun.

Oh, and my publisher has started referring to me as The Memory Whisperer. She is referring to the role I play in the next book, due out in 2019. I wonder if that will stick!

We still don’t have a title for the new book even though it is written and in the editing and production phase. Things move slowly in publishing.



Talks about ‘The Memory Code’

I have been rather quiet on this blog recently as I finished the new book (still without a title!) and am working with my editor on final changes and the images. I am very nervous about my art work appearing in the book. I needed to create my own versions of some medieval memory methods and there was no alternative but to paint them myself. More of that in a future post.

I will post the TEDxMelbourne talk here when it is published. It was recorded on August 13, so should be available soon.

Tomorrow. Thursday 27 September, I will speak at The Australian Institute of Archaeology.

I will be speaking and running a workshop for Writers Victoria at the Stories of Influence gathering in Lake Tyers, Victoria.

I’ll be heading up to Sydney on October 13 & 14 for Skepticon2018. This is the Australian Skeptics National Convention. All details here. I am on a panel referring to The Skeptic’s Guide to the Paranormal, but the Skeptics have also been incredibly supportive of The Memory Code. Both books will be available for purchase.