Mnemonic Technologies Research Articles

Application of mnemonic technology in the educational process

Nowadays modern technologies allow people to be effective and perform several tasks simultaneously in a short time. However, the brain is a muscle and it also needs to be loaded and trained. Thus, if human beings rely only on technology and do not strain their brain at all, then this will lead to degradation. As a result, people can experience a deterioration in memory, the complexity of perception and assimilation of information. The article discusses ways to improve the memorization of human beings through different types of mnemonic technologies. The evidence that mnemonics has existed since ancient times and remains effective to this day has been proven. Also, mnemonic technology is classified into linguistic, visual, verbal and spatial methods and involved in education to make students more productive in their study. The authors provide examples for each method of mnemonics. Introduction ways of receptions to memorize in educational process of biology, chemistry and general training are treated.

The emoji graphic artificial language on the educational website "Arzamas"

. The paper aims to identify the specific features of the interaction of natural language (Russian) elements and an artificial language (emoji) in a polycode literary text. Such texts are one of topical objects of analysis in communication studies, text linguistics, linguistic pragmatics, the theory of speech genres, and others. The fragments of poems by A. S. Pushkin and B. L. Pasternak published on the website of the "Arzamas" educational project are described. The structure of the fragments and the role of emoji signs in the formation of a polycode text as an important element of mnemonic technology are characterised. In the course of the study, the conclusion about the activity of models of parallel, complementary, as well as substitutive syntax is made whose functioning is also common in the areas of media and advertising Internet communication.

La formación del carácter en los indígenas mexicanos. Continuidades, rupturas y reivindicaciones

From the philosophical perspective of education, this article aims to stress the educational ideals of the Mexican indigenous tradition, showing how its emphasis on character education has persisted in speeches and special mnemonic technologies, and to show that the educational ideals of training for fulfi llment are part of human nature itself. Thus, both the ancient idea of the heart face of the ancient Mexicans, preserved during the colonial period, and the current concept of the good life of the Tzeltal people of Chiapas, conceptualize the integrity of character education and may coincide with the Greek classic ideals which we know from the contributions of Plato and Aristotle in defense of prudential practical knowledge and the virtuous life.

Mourning leather: Queer histories, vegan futures

This article brings memory studies and queer theory into conversation with animal studies through an examination of the process of mourning involved in giving up the use of animal products. Focusing on the use of leather in some queer subcultures, and combining autoethnographic reflection with other forms of testimony, the article argues that giving up leather involves a dual process of mourning: for the lives of the animals whose skins are used in those practices and for the intrahuman attachments and forms of care, pleasure and memory facilitated through those practices. Inspired by recent queer research on leather as a material and ‘mnemonic technology’, the article contributes to research on the use of animal products in the transmission of transgenerational human memory, going beyond food and the heteronormative framework of the family. It also adds new dimensions to the growing literature on veganism by asking readers to take seriously the ambivalence involved in giving up animal products where their use is saturated with memories of human community.

From the levels of memory to their info-technicist unfolding in the information society

The present article consists of analyzing memory levels from the perspective of Assmann (2008). From a systematic review on the subject, is instituted a vision on the dimension of internal (neuronal), social and cultural memory in the human, material and immaterial relations between groups. A theoretical-analytic dialogue with History, Sociology, Anthropology, Social Psychology, Information Science and other areas of the Social Sciences is undertaken, which are presented not in a watertight manner, but which participate in the analysis of this polysemic object, formed not in the abstraction of the norm, but intertwined with the worlds of people and social dynamics. Next, the level of the cultural dimension of memory is related to the categories of the information society in its triple immersion: as an economic transition, political project and social norms, to discuss the technical dimension of memory whose modern tendency is characterized by the use / use and hyper-industrialization of 'mnemonic technology' for the performance and development of individuals, organizations and societies.

Cold War Mnemonics: History, Melancholy, and Landscape in South Korean Films of the 1960s

Abstract This article examines the way that cinematic mnemonics of 1960s South Korean films ciphers the heterogeneous and conflicting experiences regarding two entangled wars: the Korean War and the Cold War. In a close reading of Kim Suyong’s Mist (An’gae, 1967) and Yi Sŏnggu’s The General’s Mustache (Changgun ŭi suyŏm, 1968), the article argues for the multifaceted aesthetics of Cold War mnemonics, which illuminates a binding and unbinding technology of affective memories in which the traumatic experience of the Korean war parallels the dominant narrative of Cold War historiography. In Mist and The General’s Mustache, historical trauma and the experience of loss take up important positions in relation to melancholic landscape and mnemonic devices. Visualizing the interstice between melancholy and mourning, between memory and history, and between landscape and interiority through the devices of flashback, widescreen, montage, and metanarrative structure, the exploration of mnemonic technologies is inextricably linked with the postwar Korean subject’s dual efforts to remember historical loss and to incorporate shameful memories. While Mist shows the male protagonist’s short visit to his countryside hometown, during which he is troubled by memories of the past and, thus, his encounter with the unfinished work of mourning, The General’s Mustache, beginning with a photojournalist’s suspicious death, assembles the fragmentary pieces of modern Korean history’s secrets through multiple frames of testimony and confession. Produced during the time of Cold War turmoil as well as at the height of global modernization, these films release alternative thinking about time, memory, and history, asking us to remember what is left behind in Cold War historiography.

The Marching Dunstans: performing memory, queering memory

The Marching Dunstans were a group of over 100 people in the annual Pride March in Adelaide, South Australia, in 2015, the 40th anniversary of the decriminalisation of homosexuality in this state. The Marching Dunstans dressed in either safari suits or pink shorts and white T-shirts, signature 1970s costumes of Premier Don Dunstan, the socially progressive Premier who oversaw decriminalisation and many other progressive changes. The Marching Dunstans constituted a queer intervention into the collective memory of this period of social change and the inspiring leadership of Don Dunstan. This article documents the role of the various mnemonic technologies and the affects that these generated. These included the dress, placards, badges, marching, voice and spectacle. It argues that, as an embodied performance of queer memory, The Marching Dunstans created space for a radical queer community politics for the present.

Cold War Mnemonics: History, Melancholy, and Landscape in South Korean Films of the 1960s

This article examines the way that cinematic mnemonics of 1960s South Korean films ciphers the heterogeneous and conflicting experiences regarding two entangled wars: the Korean War and the Cold War. In a close reading of Kim Suyong's Mist (An'gae, 1967) and Yi Sŏnggu's The General's Mustache (Changgun ŭi suyŏm, 1968), the article argues for the multifaceted aesthetics of Cold War mnemonics, which illuminates a binding and unbinding technology of affective memories in which the traumatic experience of the Korean war parallels the dominant narrative of Cold War historiography. In Mist and The General's Mustache, historical trauma and the experience of loss take up important positions in relation to melancholic landscape and mnemonic devices. Visualizing the interstice between melancholy and mourning, between memory and history, and between landscape and interiority through the devices of flashback, widescreen, montage, and metanarrative structure, the exploration of mnemonic technologies is inextricably linked with the postwar Korean subject's dual efforts to remember historical loss and to incorporate shameful memories. While Mist shows the male protagonist's short visit to his countryside hometown, during which he is troubled by memories of the past and, thus, his encounter with the unfinished work of mourning, The General's Mustache, beginning with a photojournalist's suspicious death, assembles the fragmentary pieces of modern Korean history's secrets through multiple frames of testimony and confession. Produced during the time of Cold War turmoil as well as at the height of global modernization, these films release alternative thinking about time, memory, and history, asking us to remember what is left behind in Cold War historiography.

Escaping the Panopticon Over Time

The ‘right to be forgotten’ has been labelled censorship and disastrous for the freedom of expression. In this paper, we explain that effecting the ‘right to be forgotten’ with regard to search results is ‘censorship’ at the level of information retrieval. We however claim it is the least heavy yet most effective means to get the minimum amount of censorship overall, while enabling people to evolve beyond their past opinions. We argue that applying the ‘right to be forgotten’ to search results is not a question of just ‘censoring’ search engines, but that seen from a broader perspective we—as society—will inevitably have to deal with developments in information technologies and choose between three types of ‘censorship’: (1) censorship of original sources, that is on the level of information storage; (2) censorship on the level of the initial encoding of that information or (3) censorship on the level of information retrieval. These three levels at which ‘censorship’ can take place are the three basic elements of the memory process; whether biological, technological or hybrid with the use of mnemonic technologies. Applying censorship as a means of ‘forgetting’ in the collective hybrid memory of the Web enables us to counter—at least partially—the functioning of the Web as a ‘Panopticon over Time’.

Ritual Camera: Exploring Domestic Technology to Remember Everyday Life

Looking back, people often value their memories of everyday life experiences. However, people rarely create media to remember everyday life, despite the omnipresence of (photographic) technology. The authors' research-through-design process explores media creation aimed at capturing repeated events in everyday life. They explore how media can be created over time by combining multiple instances. The design of Ritual Camera explores two aspects of this process: the potential of a domestic stationary camera and the appreciation of more abstract visuals of repeated events. In this case study, they focus on capturing daily family dinners. Findings show that different abstractions hold different values for people and depend on the envisioned use. Overall, showing the diversity of experiences is appreciated more than illustrating the average situation. By approaching abstract media as cue creation, the authors illustrate that, rather than recording everything and striving for total recall, mnemonic technologies could benefit from selective automated media creation both to value the present and for remembering in the future. This article is part of a special issue on domestic pervasive computing.

Copying machines

Although there is a large body of scholarly literature on musical copyright, very little of this work explores in a sustained and direct way the role of copyright in regulating musical memory. This paper conceptualizes sound recording as a mnemonic technology and analyzes the manner in which copyright law attempts to manage the impact of this technology on legal concepts of musical memory and authorial subjectivity. The paper analyzes the case law on “cryptomnesia” or unconscious plagiarism in the United States and Canada wherein defendants claimed not to have access to the original work and therefore could not have copied it. These contested similarities highlight the dispersion of memory and creativity across a heterogeneous network that includes composers, musicians, and producers but also institutions and machines, and leads to the present difficulty of recentering the authorial subject in legal discourses and practices. In this way, late twentieth century legal disputes over unconscious plagiarism anticipate contemporary anxieties about the entanglement of creative and consumer subjectivities with digital techniques in recent litigation campaigns against mash-up remixing, peer-to-peer file sharing, and other popular practices of online music reproduction. Then as now, copyright acts as a site for disciplining and normalising certain modes of listening to and remembering sound recordings which in turn help smooth over tensions in the field of capitalist music (re)production.

The fabric of our memories: Leather, kinship, and queer material history

This article examines how the practices of self-preservation and other-directed care within Baltimore’s gay leather community are entangled with the material fabric of leather. I argue that leather forms a mnemonic technology that mediates between intimate experience and collective memory, thereby enabling leathermen to develop affective attachments to both the past and the future of their shared form of life. Ultimately, my aim is to attend to the relation between memory and materiality, asking how the material qualities of leather, as treated animal skin, evoke, store, and shape memories and, vice versa, how such memories imbue leather items with emotional, cultural, and political values.

Who Is Censoring Whom? An Enquiry into the Right to Be Forgotten and Censorship

The 'right to be forgotten' has been labelled as censorship and disastrous for the freedom of expression. In this paper, we will claim that effecting the right to be forgotten with regard to search results is a 'censorship' on the level of the retrieval of information. We will however also claim it is the least heavy yet most effective means to get an overall minimum amount of censorship, while additionally enabling people to evolve beyond their past opinions. We will show that in applying something like a 'right to be forgotten,' it is not a question of just 'censoring' search engines, but that seen from a broader perspective we -- as society -- will inevitably have to choose between three types of 'censorship': (1) censorship of original sources, that is on the level of information storage; (2) censorship on the level in which information is encoded in the first place; or (3) censorship on the level of information retrieval. These three levels on which 'censorship' can take place are the three basic elements of the memory process; whether biological, electronic, or hybrid with the use of mnemonic technologies. Applying censorship as a means of 'forgetting' in the collective hybrid memory of the Web enables us to counter -- at least partially -- a possible suppressing functioning of the Web as a 'Panonticon over Time.'

The authorial problem in the Ḵẖāliq Bārī of ‘Ḵẖusrau’

The Ḵẖāliq Bārī is the most famous South Asian example of the niṣāb genre of multilingual versified vocabularies, comprising synonymous or near-synonymous terms and phrases drawn from Arabic, Persian and early Hindawī. Its persistent popularity in the South Asian Islamicate educational system is the result primarily of its association with the celebrated fourteenth-century Persian poet Amīr ‘Ḵẖusrau’ Dihlawī. This article examines the debates surrounding the authorship of this text, examining both early attributions and more recent nationalist interpretations of the work in light of internal and manuscript evidence. The chaotic structural organisation and mnemonic technologies deployed throughout the Ḵẖāliq Bārī, as well as the multilingual character of the text itself, would suggest that the effort to identify of a single author or original text is misplaced.

Technologies of memory: Practices of remembering in analogue and digital photography

This article demonstrates the need always to consider change against continuity and continuity against change in the analysis of mnemonic technologies. It does so by exploring what has happened in the move from analogue to digital photography, looking, in particular, at how this has affected the meanings of personal photographs and the practices of remembering associated with them. In contrast with technologically determinist perspectives which have been, however latently, manifest in writing on new media, the value of exploring vernacular photography as a specifically mnemonic practice is that it turns our attention to the ways in which photographic practices are bound up with longer term social uses and cultural values. Our analysis focuses on changes in four key categories of photographic practice that relate to the analogue/digital shift: photo-taking, photo-storing, photo-viewing, photo-sharing – all of which have consequences for the uses of photography as a mnemonic resource. They have all been altered in varying degrees by the advent of digital technologies, but with people continually making comparative evaluations of old and new, drawing on the former as a key aspect of learning how to use the latter.

(Re)Conceptualising mnemonic technology in light of hermeneutic ontology

This paper lays out the background and foreground of how we come to conceptualise our world by providing an analysis of the notion of ontology. It argues that there are three conceptually separable discourses that can be identified in the Western philosophical tradition: ‘classical ontology’, ‘noetic ontology’, and ‘hermeneutic ontology’. Through the lenses of these three general ontologies, the regional ontology of information is explicated and is then further expanded upon in line with hermeneutic ontology’s emphasis on the social–historical contingency of human existence. Through this, it is argued that the mnemonic capacities and attitudes of human beings, and the relationship of these capacities and attitudes towards the formation of these beings, should not be considered in isolation from the development of different mnemonic technologies for the inscription, storage, organisation, retrieval, and dissemination of information. This argument is presented by considering the historical development and implementation of the primarily linguistic technologies of orality, literacy, print culture, and the emerging digital culture.