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Joshua Foer

Moonwalking with Einstein

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Amazon.com ReviewMoonwalking with Einstein follows Joshua Foer’s compelling journey as a participant in the U.S. Memory Championship. As a science journalist covering the competition, Foer became captivated by the secrets of the competitors, like how the current world memory champion, Ben Pridmore, could memorize the exact order of 1,528 digits in an hour. He met with individuals whose memories are truly unique—from one man whose memory only extends back to his most recent thought, to another who can memorize complex mathematical formulas without knowing any math. Brains remember visual imagery but have a harder time with other information, like lists, and so with the help of experts, Foer learned how to transform the kinds of memories he forgot into the kind his brain remembered naturally. The techniques he mastered made it easier to remember information, and Foer’s story demonstrates that the tricks of the masters are accessible to anyone. —Miriam Landis

Author Q&A with Joshua Foer

Q: First, can you explain the title of you book, Moonwalking with Einstein?

A: The title refers to a memory device I used in the US Memory Championship—specifically it’s a mnemonic that helped me memorize a deck of playing cards. Moonwalking with Einstein works as a mnemonic because it’s such a goofy image. Things that are weird or colorful are the most memorable. If you try to picture Albert Einstein sliding backwards across a dance floor wearing penny loafers and a diamond glove, that’s pretty much unforgettable.

Q: What are the U.S. Memory Championships? How did you become involved?

A: The U.S. Memory Championship is a rather bizarre contest held each spring in New York City, in which people get together to see who can remember the most names of strangers, the most lines of poetry, the most random digits. I went to the event as a science journalist, to cover what I assumed would be the Super Bowl of savants. But when I talked to the competitors, they told me something really interesting. They weren’t savants. And they didn’t have photographic memories. Rather, they’d trained their memories using ancient techniques. They said anyone could do it. I was skeptical. Frankly, I didn’t believe them. I said, well, if anyone can do it, could you teach me? A guy named Ed Cooke, who has one of the best trained memories in the world, took me under his wing and taught me everything he knew about memory techniques. A year later I came back to the contest, this time to try and compete, as a sort of exercise in participatory journalism. I was curious simply to see how well I’d do, but I ended up winning the contest. That really wasn’t supposed to happen.

Q: What was the most surprising thing you found out about yourself competing in the Memory Championships?

A: In the process of studying these techniques, I learned something remarkable: that there’s far more potential in our minds than we often give them credit for. I’m not just talking about the fact that it’s possible to memorize lots of information using memory techniques. I’m talking about a lesson that is more general, and in a way much bigger: that it’s possible, with training and hard work, to teach oneself to do something that might seem really difficult.

Q: Can you explain the «OK Plateau?»

A: The OK Plateau is that place we all get to where we just stop getting better at something. Take typing, for example. You might type and type and type all day long, but once you reach a certain level, you just never get appreciably faster at it. That’s because it’s become automatic. You’ve moved it to the back of your mind’s filing cabinet. If you want to become a faster typer, it’s possible, of course. But you’ve got to bring the task back under your conscious control. You’ve got to push yourself past where you’re comfortable. You have to watch yourself fail and learn from your mistakes. That’s the way to get better at anything. And it’s how I improved my memory.

Q: What do you mean by saying there an «art» to memory?

A: The «art of memory» refers to a set of techniques that were invented in ancient Greece. These are the same techniques that Cicero used to memorize his speeches, and that medieval scholars used to memorize entire books. The «art» is in creating imagery in your mind that is so unusual, so colorful, so unlike anything you’ve ever seen before that it’s unlikely to be forgotten. That’s why mnemonists like to say that their skills are as much about creativity as memory.

Q:e to say that their skills are as much about creativity as memory.

Q: How do you think technology has affected how and what we remember?

A: Once upon a time people invested in their memories, they cultivated them. They studiously furnished their minds. They remembered. Today, of course, we’ve got books, and computers and smart phones to hold our memories for us. We’ve outsourced our memories to external devices. The result is that we no longer trust our memories. We see every small forgotten thing as evidence that they’re failing us altogether. We’ve forgotten how to remember.

Q: What is the connection between memory and our sense of time?

A: As we get older, life seems to fly by faster and faster. That’s because we structure our experience of time around memories. We remember events in relation to other events. But as we get older, and our experiences become less unique, our memories can blend together. If yesterday’s lunch is indistinguishable from the one you ate the day before, it’ll end up being forgotten. That’s why it’s so hard to remember meals. In the same way, if you’re not doing things that are unique and different and memorable, this year can come to resemble the last, and end up being just as forgettable as yesterday’s lunch. That’s why it’s so important to pack your life with interesting experiences that make your life memorable, and provide a texture to the passage of time.

Q: How is your memory now?

A: Ironically, not much better than when I started this whole journey. The techniques I learned, and used in the memory contest, are great for remembering structured information like shopping lists or phone numbers, but they don’t improve any sort of underlying, generalizable memory ability. Unfortunately, I still misplace my car keys.

(Photo of Joshua Foer © Emil Salman Haaretz)

Frommemories, such as the extensive training British cabbies must undergo. He also discusses ways we can train ourselves to have better memories, like the PAO system, in which, for example, every card in a deck is associated with an image of a specific person, action, or object. An engaging, informative, and for the forgetful, encouraging book. —David Pitt
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İzlenimler

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    🔮Gizli Derinlikler

    * “There are no limits. There are plateaus, but you must not stay there, you must go beyond them. If it kills you, it kills you.” – Bruce Lee
    * We don’t remember isolated facts, we remember things in context.
    * According to Ericsson, what we call ::expertise is really just “vast amounts of knowledge, pattern-based retrieval, and planning mechanisms acquired over many years of experience in the associated domain.” In other words, a great memory isn’t just a by-product of expertise; it is the essence of expertise::.
    * The more we pack our lives with memories, the slower time seems to move. Monotony breeds fast time.
    * Monotony collapses time; novelty unfolds it. You can exercise daily and eat healthily and live a long life, while experiencing a short one. If you spend your life sitting in a cubicle and passing papers, one day is bound to blend unmemorably into the next—and disappear. That’s why it’s important to ::change routines regularly, and take vacations to exotic locales, and have as many new experiences as possible that can serve to anchor our memories.::
    * ::Once you feel like you’re “okay” at something, you stop improving (see Peak). To keep improving you have to break through that plateau.::
    * * They develop strategies for consciously keeping out of the autonomous stage while they practice by doing three things: ::focusing on their technique, staying goal-oriented, and getting constant and immediate feedback on their performance.::

    # Summary Notes
    * *Memorizing names:*“The trick is actually deceptively simple,” he said. “It is always to ::associate the sound of a person’s name with something you can clearly imagine. It’s all about creating a vivid image in your mind that anchors your visual memory of the person’s face to a visual memory connected to the person’s name.:: When you need to reach back and remember the person’s name at some later date, the image you created will simply pop back into your mind
    * *Memorizing information :* Chunking information into blocks makes it easier to remember: “one hundred” vs “one zero zero”
    * “The general idea with most memory techniques is to change whatever ::boring thing is being inputted into your memory into something that is so colorful, so exciting, and so different from anything you’ve seen before that you can’t possibly forget it,”::
    * The Ad Herennium advises readers at length about ::creating the images for one’s memory palace: the funnier, lewder, and more bizarre, the better.:: “When we see in everyday life things that are petty, ordinary, and banal, we generally fail to remember them, because the mind is not being stirred by anything novel or marvelous. But if we see or hear something exceptionally base, dishonorable, extraordinary, great, unbelievable, or laughable, that we are likely to remember for a long time.”
    * When forming images, it helps to have a dirty mind. Evolution has programmed our brains to find two things particularly interesting, and therefore memorable: jokes and sex—and especially, it seems, jokes about sex.
    * *Memorizing Speech :* Cicero agreed that the best way to ::memorize a speech is point by point, not word by word, by employing memoria rerum.:: In his De Oratore, he suggests that an orator delivering a speech should make one image for each major topic he wants to cover, and place each of those images at a locus.
    * Psychologists have discovered that the most efficient method is to ::force yourself to type faster than feels comfortable, and to allow yourself to make mistakes.::
    * *Memorizing Cards :*::“Ericsson suggested I try the same thing with cards. He told me to find a metronome and to try to memorize a card every time it clicked. Once I figured out my limits, he instructed me to set the metronome 10 to 20 percent faster than that and keep trying at the quicker pace until I stopped making mistakes.”::

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Alıntılar

  • 洪一萍alıntı yaptı4 yıl önce
    “Everything we learn is permanently stored in the mind, although sometimes particular details are not accessible. With hypnosis, or other special techniques, these inaccessible details could eventually be recovered.”
  • 洪一萍alıntı yaptı4 yıl önce
    The techniques existed not just to memorize useless information like decks of playing cards, but also to etch into the brain foundational texts and ideas.
  • Montserrat Correaalıntı yaptıgeçen yıl
    Dead Reckoning: Calculating Without Instruments

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