623:), which were memorized by practitioners as the framework or ordering structure that would 'contain' the images or signs 'placed' within it to record experience or knowledge. To use this method one might walk through a building several times, viewing distinct places within it, in the same order each time. After the necessary repetitions of this process, one should be able to remember and visualize each of the places reliably and in order. If one wished to remember, for example, a speech, one could break up the content of the speech into images or signs used to memorize its parts, which would then be 'placed' in the locations previously memorized. The components of the speech could then be recalled in order by imagining that one is walking through the building again, visiting each of the loci in order, viewing the images there, and thereby recalling the elements of the speech in order. A reference to these techniques survives to this day in the common English phrases "in the first place", "in the second place", and so forth. These techniques, or variants, are sometimes referred to as
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836:(1969). In this technique the subject memorizes the layout of some building, or the arrangement of shops on a street, or a video game, or any geographical entity which is composed of a number of discrete loci. When desiring to remember a set of items the subject 'walks' through these loci and commits an item to each one by forming an image between the item and any distinguishing feature of that locus. Retrieval of items is achieved by 'walking' through the loci, allowing the latter to activate the desired items. The efficacy of this technique has been well established (Ross and Lawrence 1968, Crovitz 1969, 1971, Briggs, Hawkins and Crovitz 1970, Lea 1975), as is the minimal interference seen with its use."
204:, and that he would have to get the balance of the payment from the two gods he had mentioned. A short time later, Simonides was told that two men were waiting for him outside. He left to meet the visitors but could find no one. Then, while he was outside the banquet hall, it collapsed, crushing everyone within. The bodies were so disfigured that they could not be identified for proper burial. But, Simonides was able to remember where each of the guests had been sitting at the table, and so was able to identify them for burial. This experience suggested to Simonides the principles which were to become central to the later development of the art he reputedly invented.
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barbarian tribes and the transformation of the Roman empire the architectural mnemonic fell into disuse. However the use of tables, charts and signs appears to have continued and developed independently. Mary
Carruthers has made it clear that a trained memory occupied a central place in late antique and medieval pedagogy, and has documented some of the ways in which the development of medieval memorial arts was intimately intertwined with the emergence of the book as we understand it today. Examples of the development of the potential inherent in the graphical mnemonic include the lists and combinatory wheels of the Majorcan Ramon Llull. The Art of Signs (Latin
354:, and in part upon the classical architectural mnemonic. According to one influential interpretation, his memory system was intended to fill the mind of the practitioner with images representing all knowledge of the world, and was to be used, in a magical sense, as an avenue to reach the intelligible world beyond appearances, and thus enable one to powerfully influence events in the real world. Such enthusiastic claims for the encyclopedic reach of the art of memory are a feature of the early Renaissance, but the art also gave rise to better-known developments in logic and
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abstract system of 'places' is the memory system of
Metrodorus of Scepsis, who was said by Quintilian to have organized his memory using a system of backgrounds in which he "found three hundred and sixty places in the twelve signs of the zodiac through which the sun moves". Some researchers (L.A. Post and Yates) believe it likely that Metorodorus organized his memory using places based in some way upon the signs of the zodiac. In any case Quintilian makes it clear that non-alphabetic signs can be employed as memory images, and even goes on to mention how 'shorthand' signs (
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in order to facilitate our defense we wish to remember this first point, we shall in our first background form an image of the whole matter. We shall picture the man in question as lying ill in bed, if we know his person. If we do not know him, we shall yet take some one to be our invalid, but not a man of the lowest class, so that he may come to mind at once. And we shall place the defendant at the bedside, holding in his right hand a cup, and in his left hand tablets, and on the fourth finger a ram's testicles (Latin
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1257:(Third Edition, 1999, in the article "tachygraphy") discusses the formal characteristics of late Hellenistic shorthand manuals, noting "These show a fully organized system, composed of a syllabary and a (so-called) Commentary, consisting of groups of words, arranged in fours or occasionally eights, with a sign attached to each, which had to memorized." This can be compared with Bruno's atria in
319:. However, he advanced it only as an aid to passing examinations (a kind of rote memorization) rather than as a means of new composition, though it had traditionally been taught, both in dialectics and in rhetoric, as a tool for such composition or 'invention'. Ricci was apparently trying to gain favour with the Chinese imperial service, which required a notoriously difficult entry examination.
1092:, 1966, p4) Frances Yates suggests that "it may be misleading to dismiss it with the label 'mnemotechnics'" and "The word 'mnemotechnics' hardly conveys what the artificial memory of Cicero may have been like". Furthermore, "mnemotechnics", etymologically speaking, emphasizes practical application, whereas the art of memory certainly includes general principles and a certain degree of 'theory'.
844:: and the collapsing banquet hall discussed above. For example, after relating the story of how Simonides relied on remembered seating arrangements to call to mind the faces of recently deceased guests, Steven M. Kosslyn remarks "his insight led to the development of a technique the Greeks called the method of loci, which is a systematic way of improving one's memory by using imagery."
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507:, or the breaking up of a long series into more manageable sets. This is reflected in advice on forming images or groups of images which can be taken in at a single glance, as well as in discussions of memorizing lengthy passages, "A long text must always be broken up into short segments, numbered, then memorized a few pieces at a time." This is known in modern terminology as
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visual images, through expression and gesture, which will fix the impression of his words. All the rhetorical textbooks contain detailed advice on declamatory gesture and expression; this underscores the insistence of
Aristotle, Avicenna, and other philosophers, on the primacy and security for memory of the visual over all other sensory modes, auditory, tactile, and the rest.
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as with crowns or purple cloaks, so that the similitude may be more distinct to us; or if we somehow disfigure them, as by introducing one stained with blood or soiled with mud and smeared with red paint, so that its form is more striking, or by assigning certain comic effects to our images, for that, too, will ensure our remembering them more readily.
103:("signs, markings, figures" in Latin), and the association of text with images. Any or all of these techniques were often used in combination with the contemplation or study of architecture, books, sculpture and painting, which were seen by practitioners of the art of memory as externalizations of internal memory images and/or organization.
1117:, which is dated to about 400 BCE contains a short section on memory which outlines features known to be central to the fully developed classical art. Frances A. Yates, The Art of Memory, University of Chicago Press, 1966, pp 27-30. The Oxford Classical Dictionary, Third Edition, Ed. Hornblower and Spawforth, 1999, p1409.
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It is one thing to worship a picture, it is another by means of pictures to learn thoroughly the story that should be venerated. For what writing makes present to those reading, the same picturing makes present to the uneducated, to those perceiving visually, because in it the ignorant see what they
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In order to memorize likenesses based on words he provides an example of a verse and describes how images may be placed, each of which corresponds to words in the verse. He notes however that the technique will not work without combination with rote memorization of the verse, so that the images call
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The positioning of images in visual space leads naturally to an order, furthermore, an order to which we are naturally accustomed as biological organisms, deriving as it does from the sense perceptions we use to orient ourselves in the world. This fact perhaps sheds light on the relationship between
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Carruthers's studies of memory suggest that the images and pictures employed in the medieval arts of memory were not representational in the sense we today understand that term. Rather, images were understood to function "textually", as a type of 'writing', and not as something different from it in
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Often we encompass the record of an entire matter by one notation, a single image. For example, the prosecutor has said that the defendant killed a man by poison, has charged that the motive for the crime was an inheritance, and declared that there are many witnesses and accessories to this act. If
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We ought, then, to set up images of a kind that can adhere longest in memory. And we shall do so if we establish similitudes as striking as possible; if we set up images that are not many or vague but active; if we assign to them exceptional beauty or singular ugliness; if we ornament some of them,
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He inferred that persons desiring to train this faculty (of memory) must select places and form mental images of the things they wish to remember and store those images in the places, so that the order of the places will preserve the order of the things, and the images of the things will denote the
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principles and techniques used to organize memory impressions, improve recall, and assist in the combination and 'invention' of ideas. An alternative term is "Ars
Memorativa" which is also translated as "art of memory" although its more literal meaning is "Memorative Art". It is also referred to as
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given for images in memory texts are usually intended as examples and are not intended to be "universally normative". Yates offers a passage from
Aristotle that briefly outlines the principle of association. In it, he mentions the importance of a starting point to initiate a chain of recollection,
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The importance of affect or emotion in the art of memory is frequently discussed. The role of emotion in the art can be divided into two major groupings: the first is the role of emotion in the process of seating or fixing images in the memory, the second is the way in which the recollection of a
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of
Simonides (more or less taken from Frances Yates) and describes some of the most basic aspects of the use of space in the art of memory. She states, "This particular mnemonic technique has come to be called the "method of loci". While place or position certainly figured prominently in ancient
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indicate that "an ancient technique of memorization called Method of Loci, by which memories are referenced directly onto spatial maps" originated with the story of
Simonides. Referring to mnemonic methods, Verlee Williams mentions, "One such strategy is the 'loci' method, which was developed by
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For this reason some use places for the purposes of recollecting. The reason for this is that men pass rapidly from one step to the next; for instance from milk to white, from white to air, from air to damp; after which one recollects autumn, supposing that one is trying to recollect the season.
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It is possible for one with a well-trained memory to compose clearly in an organized fashion on several different subjects. Once one has the all-important starting-place of the ordering scheme and the contents firmly in their places within it, it is quite possible to move back and forth from one
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The use of manuscript illuminations to reinforce the memory of a particular textual passage, the use of visual alphabets such as those in which birds or tools represent letters, the use of illuminated capital letters at the openings of passages, and even the structure of the modern book (itself
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was a less common variant, and appears to have been the exception rather than the rule), then meditated upon and 'digested' hence making it one's own. She asserts that both 'textual' activities (picturing and reading) have as their goal the internalization of knowledge and experience in memory.
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The architectural mnemonic is often characterized as the art of memory itself. However primary sources show that from very early in the development of the art, non-physical or abstract locations and/or spatial graphics were employed as memory 'places'. Perhaps the most famous example of such an
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Turning to images, the anonymous author asserts that they are of two kinds: those establishing a likeness based upon subject, and those establishing a likeness based upon a word. This was the basis for the subsequent distinction, commonly found in works on the art of memory, between 'memory for
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Places or backgrounds hence require, and reciprocally impose, order (often deriving from the spatial characteristics of the physical location memorized, in cases where an actual physical structure provided the basis for the 'places'). This order itself organizes the images, preventing confusion
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Even what we hear must be attached to a visual image. To help recall something we have heard rather than seen, we should attach to their words the appearance, facial expression, and gestures of the person speaking as well as the appearance of the room. The speaker should therefore create strong
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This makes it clear that though the architectural mnemonic with its buildings, niches and three-dimensional images was a major theme of the art as practiced in classical times, it often employed signs or notae and sometimes even non-physical imagined spaces. During the period of migration of
80:. It is an 'art' in the Aristotelian sense, which is to say a method or set of prescriptions that adds order and discipline to the pragmatic, natural activities of human beings. It has existed as a recognized group of principles and techniques since at least as early as the middle of the
278:. When Cicero and Quintilian were revived after the 13th century, humanist scholars understood the language of these ancient writers within the context of the medieval traditions they knew best, which were profoundly altered by monastic practices of meditative reading and composition.
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during recall. The anonymous author also advises that places should be well lit, with orderly intervals, and distinct from one another. He recommends a virtual 'viewing distance' sufficient to allow the viewer to encompass the space and the images it contains with a single glance.
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of
Rotterdam and other humanists, Protestant and Catholic, had also chastised practitioners of the art of memory for making extravagant claims for its efficacy, although they themselves believed firmly in a well-disposed, orderly memory as an essential tool of productive thought.
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For just as in a person with a trained memory, a memory of things themselves is immediately caused by the mere mention of their places, so these habits too will make a man readier in reasoning, because he has his premisses classified before his mind's eye, each under its number.
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On the other hand, the image associated with an emotion will call up the emotion when recollected. Carruthers discusses this in the context of the way in which the trained medieval memory was thought to be intimately related with the development of prudence or moral judgement.
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places. The designator "method of loci" does not convey the equal weight placed on both elements. Training in the art or arts of memory as a whole, as attested in classical antiquity, was far more inclusive and comprehensive in the treatment of this subject.
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into the curriculum of Logic, where it survives to this day as a necessary foundation for the teaching of
Argument. Simplified variants of the art of memory were also taught through the 19th century as useful to public orators, including preachers and
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Association was considered to be of critical importance for the practice of the art. However, it was clearly recognized that associations in memory are idiosyncratic, hence, what works for one will not automatically work for all. For this reason, the
1766:), rather than as any putative "method of loci". Nor is the imprecise designation current in specialized historical studies, for example Mary Carruthers uses the term "architectural mnemonic" to describe what is otherwise designated "method of loci".
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deriving from scholastic developments) with its index, table of contents and chapters reflect the fact that reading was a memorial practice, and the use of text was simply another technique in the arsenal of practitioners of the arts of memory.
597:, mentioned above, makes this clear: "repeat again what you hear; for by often hearing and saying the same things, what you have learned comes complete into your memory." Similar advice is a commonplace in later works on the art of memory.
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gazed at figures or diagrams curiously marked and called 'notae' whilst reciting magical prayers. He hoped to gain in this way knowledge, or memory, of all the arts and sciences, a different 'nota' being provided for each discipline. The
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However, this transition was not without its difficulties, and during this period the belief in the effectiveness of the older methods of memory training (to say nothing of the esteem in which its practitioners were held) steadily became
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it will be more advantageous to obtain backgrounds in a deserted than in a populous region, because the crowding and passing to and fro of people confuse and weaken the impress of the images, while solitude keeps their outlines sharp.
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context in which it was originally taught. It became the basic method for reading and meditating upon the Bible after making the text secure within one's memory. Within this tradition, the art of memory was passed along to the later
646:(Book III) backgrounds or 'places' are like wax tablets, and the images that are 'placed' on or within them are like writing. Real physical locations were apparently commonly used as the basis of memory places, as the author of the
576:) concerning whether it is helpful or hurtful, the phantasm by its very nature evokes emotion. This is how the phantasm and the memory which stores it helps to cause or bring into being moral excellence and ethical judgement.
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for place or location) is a general designation for mnemonic techniques that rely upon memorized spatial relationships to establish, order and recollect memorial content. The term is most often found in specialized works on
342:, a defrocked Dominican, used a variation of the art in which the trained memory was based in some fashion upon the zodiac. Apparently, his elaborate method was also based in part on the combinatoric concentric circles of
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Bruno's use of groups of words may also be associated with the use of shorthand, or with techniques associated with shorthand in antiquity. Yates (1966) mentions the possibility of a relationship between shorthand
452:. The importance of the visual sense in the art of memory would seem to lead naturally to the importance of a spatial context, given that our sight and depth-perception naturally position images seen within space.
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The designation is not used with strict consistency. In some cases it refers broadly to what is otherwise known as the art of memory, the origins of which are related, according to tradition, in the story of
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The well-known role of repetition in the common process of memorization of course plays a role in the more complex techniques of the art of memory. The earliest of the references to the art of memory, the
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It may have been out of this atmosphere that there was formed a tradition which, going underground for centuries and suffering transformations in the process, appeared in the Middle Ages as the
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Perhaps the most important principle of the art is the dominance of the visual sense in combination with the orientation of 'seen' objects within space. This principle is reflected in the early
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if we are not content with our ready-made supply of backgrounds, we may in our imagination create a region for ourselves and obtain a most serviceable distribution of appropriate backgrounds.
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The architectural mnemonic was also related to the broader concept of learning and thinking. Aristotle considered the technique in relation to topica, or conceptual areas or issues. In his
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Aristotle's assertion that we cannot contemplate or understand without an image in the mind's eye representing the thing considered was also highly influential. Aristotle, De Anima 3.8 in
274:) in which a devout Christian practitioner would inspect certain figures as part of the method of loci in order to imprint, store, and retrieve knowledge of certain subjects such as the
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Simonedes of Ceos, the poet credited by the ancients with the discovery of fundamental principles of this art, was active around 500 BCE, and in any case a fragment known as the
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Aristotle, Topica, 163, 24-30 (translated by W.A. Pickard-Cambridge in Works of
Aristotle, ed. W.D. Ross, Oxford, 1928, Vol. I), cited in Yates, The Art of Memory, 1966, p. 31
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In other cases the designation is generally consistent, but more specific: "The Method of Loci is a Mnemonic Device involving the creation of a Visual Map of one's house."
490:("sacculum," "marsupium"), so the contents of wisdom's storehouse ("thesaurus," "archa"), which is the memory, must be classified according to a definite, orderly scheme.
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In modern terminology, the concept that contains salient, bizarre, shocking, or simply unusual information will be more easily remembered. This can be referred to as the
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of emotionally striking memory images within visualized locations, the chaining or association of groups of images, the association of images with schematic graphics or
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This term can be misleading: the ancient principles and techniques of the art of memory, hastily glossed in some of the works just cited, depended equally upon images
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If such an assessment is correct, it suggests that the use of text to recollect memories was, for medieval practitioners, merely a variant of techniques employing
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One must have a rigid, easily retained order, with a definite beginning. Into this order one places the components of what one wishes to memorize and recall. As a
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The art of memory employed a number of techniques which can be grouped as follows for purposes of discussion, however they were usually used in some combination:
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Because of the variety of principles and techniques, and their various applications, some researchers refer to "the arts of memory", rather than to a single art.
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e.g. in a discussion of "topical memory" (yet another designator) Jamieson mentions that "memorial lines, or verses, are more useful than the method of loci."
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mnemonic techniques, no designation equivalent to "method of loci" was used exclusively to refer to mnemonic schemes relying upon space for organization.
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O'Keefe and Nadel refer to "'the method of loci', an imaginal technique known to the ancient Greeks and Romans and described by Yates (1966) in her book
1809:
716:) can be used to signify things that would otherwise be impossible to capture in the form of a definite image (he gives "conjunctions" as an example).
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attacked the art as impious because it was thought to excite absurd and obscene thoughts; this was a sensational, but ultimately not a fatal skirmish.
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ought to follow, in it they read who do not know letters. Wherefore, and especially for the common people, picturing is the equivalent of reading.
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wrote extensively on the subject of memory, and mentions the technique of the placement of images to lend order to memory. Passages in his works
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Her work makes clear that for medieval readers the act of reading itself had an oral phase in which the text was read aloud or sub-vocalized (
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1588:"Building a memory palace in minutes: Equivalent memory performance using virtual versus conventional environments with the Method of Loci"
819:, though it was used in the same general way at least as early as the first half of the nineteenth century in works on Rhetoric, Logic and
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One explanation for the steady decline in the importance of the art of memory from the 16th to the 20th century is offered by the late
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when Protestants and reactionary Catholics alike worked to eradicate pagan influence and the lush visual imagery of the Renaissance.
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and his reputation for memory, as well as the association between trained memory, astrology and divination. She goes on to suggest
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Whatever the causes, in keeping with general developments, the art of memory eventually came to be defined primarily as a part of
1750:(places) in which memorial content could be aggregated - hence our modern term "topics", while another primary classical source,
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The architectural mnemonic was a key group of techniques employed in the art of memory. It is based on the use of places (Latin
264:(or Early Modern period). The art of memory entered a sacred and Christian context in the 13th century book of magic called the
1698:, MIT Press, 1988, p245; Kosslyn fails to cite any example of the use of an equivalent term in period Greek or Latin sources.
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Again discussing Hugh of St. Victor's works on memory, Carruthers clearly notes the critical importance of order in memory:
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This passage emphasizes the association of the visual sense with spatial orientation. The image of the speaker is placed
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artificial memory came to be used as a method for recollecting the whole universe and the roads to Heaven and Hell. The
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was an important influence in promoting the art when, in following Cicero's categorization, he defined it as a part of
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emphasizes the importance of using emotionally striking imagery to ensure that the images will be retained in memory:
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Cicero, De oratore, II, lxxxvi, 351-4, English translation by E.W. Sutton and H. Rackham from Loeb Classics Edition
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is perhaps a descendant of the classical art of memory, or of that difficult branch of it which used the shorthand
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Since each phantasm is a combination not only of the neutral form of the perception, but of our response to it (
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words' and 'memory for things'. He provides the following famous example of a likeness based upon subject:
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images. In general Classical and Medieval sources describe these techniques as the art or arts of memory (
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or witnesses). In this way we can record the man who was poisoned, the inheritance, and the witnesses.
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The primary classical sources for the art of memory which deal with the subject at length include the
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However, real physical locations were not the only source of places. The author goes on to suggest
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Quintilian, Institutio oratoria, XI, ii, 23-26, Loeb Edition English translation by H. E. Butler
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and recommended its use to meditate on the virtues and to improve one's piety. In
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things themselves, and we shall employ the places and the images respectively as a
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Legge, Eric L. G.; Madan, Christopher R.; Ng, Enoch T.; Caplan, Jeremy B. (2012).
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e.g. the "Memory Theater" of Giulio Camillo discussed by Yates (1966, pp 129-159)
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Simonides, a Greek poet of the fifth and sixth centuries BC" Loftus cites the
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Teaching For The Two-Sided Mind: A Guide to Right Brain/Left Brain Education
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Origins of neuroscience : a history of explorations into brain function
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adapted techniques common in the art of memory as an art of composition and
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2888:
2759:
2713:
1694:
Steven M. Kosslyn, "Imagery in Learning" in: Michael S. Gazzaniga (Ed.),
968:
351:
343:
270:
261:
257:
163:
122:, but no conclusive evidence has been presented to support these claims.
1983:
Moonwalking with Einstein: The Art and Science of Remembering Everything
1651:
322:
2923:
2786:
2353:
820:
808:
394:
350:, in part upon groups of words and images associated with late antique
235:, the first figure of logic/dialectic used as part of the art of memory
210:
189:
142:
137:
2159:
1502:
Book III, xix, 33, Loeb Classics English translation by Harry Caplan
1493:
Book III, xix, 32, Loeb Classics English translation by Harry Caplan
1484:
Book III, xix, 31, Loeb Classics English translation by Harry Caplan
937:
924:
487:
252:
201:
169:
158:
499:
Many works discussing the art of memory emphasize the importance of
427:
fragment on memory, and is found throughout later texts on the art.
2648:
1587:
1148:, ed. Jonathan Barnes (Princeton: Princeton University Press, 1984)
919:
630:
The primary source for the architectural mnemonic is the anonymous
367:
296:
were particularly important in promoting its uses, see for example
285:
248:
193:
85:
72:
30:"Ars memoriae" redirects here. For Giordano Bruno's 1582 book, see
486:("nummularium") separates and classifies his coins by type in his
315:
to China - described the system of places and images in his work,
196:. While praising his host, Simonides also mentioned the twin gods
114:
It has been suggested that the art of memory originated among the
2361:
371:
1921:
The Medieval Craft of Memory: An anthology of texts and pictures
931:
and 'mother' of the nine Muses; also the river of memory in the
2097:
816:
639:
363:
304:
173:
proved to be influential in the later revival of the art among
132:
48:
1777:
Quick Reference Neuroscience For Rehabilitation Professionals
932:
311:- who from 1582 until his death in 1610, worked to introduce
89:
439:, emphasizes the importance of the visual sense as follows:
766:, images and other non-textual devices. Carruthers quotes
32:
Giordano Bruno § First years of wandering, 1576–1583
1918:
1070:
participants, an annual mental sports event since 1990.
536:
and the way in which it serves as a stimulating cause.
469:
memory, which were clearly distinguished in antiquity.
2093:
TED talk: Joshua Foer on feats of memory anyone can do
1555:
1553:
1100:
1098:
1709:
Up From Dragons: The Evolution of Human Intelligence
1634:"Artificial Memory Palaces - Memory Techniques Wiki"
876:
554:
One of the earliest sources discussing the art, the
95:
Techniques commonly employed in the art include the
1550:
2040:
1958:
1831:
1585:
1438:from the excerpt of this work available in Yates,
1095:
627:, which is discussed in a separate section below.
418:
41:. For the album by John Zorn and Fred Frith, see
27:Learning technique that aids information retention
3089:
1451:
995:
642:and Quintilian. According to the account in the
382:, who argued that it was suppressed during the
358:during the sixteenth and seventeenth centuries.
1876:(first ed.). Cambridge University Press.
1574:A Grammar of Logic and Intellectual Philosophy
1259:De Imaginum, Signorum, et Idearum Compositione
551:memory image can evoke an emotional response.
84:, and was usually associated with training in
2113:
397:, and was assimilated in the 17th century by
1338:Carruthers & Ziolkowski 2002; Rossi 2000
1088:In her general introduction to the subject (
2244:The Magical Number Seven, Plus or Minus Two
1790:"Rhetorica ad Herennium Passages on Memory"
1735:Human Memory: The Processing of Information
984:The Magical Number Seven, Plus or Minus Two
71:) is any of a number of loosely associated
52:Graphical memory devices from the works of
2120:
2106:
1919:Carruthers, Mary; Ziolkowski, Jan (2002).
1899:
1871:
1672:, Oxford University Press, 1978, p389-390
1296:Giordano Bruno and the Hermetic Tradition
608:
2071:. Chicago: University of Chicago Press.
1737:, Lawrence Erlbaum Associates, 1976, p65
1652:"Memory Palace - Memory Techniques Wiki"
690:to mind the previously memorized words.
518:
321:
227:
216:
47:
1937:
1852:
1829:
14:
3090:
2038:
802:The 'method of loci' (plural of Latin
326:One of Giordano Bruno's simpler pieces
109:
37:For the book by Frances A. Yates, see
2101:
2061:
2019:
2000:
1956:
1456:. New York: Oxford University Press.
1249:) and the possible role of shorthand
706:
638:. The technique is also mentioned by
1979:
1923:. University of Pennsylvania Press.
1754:(Bk III) discusses rules for places
1253:in 'magical' memory training (p43).
334:, vaguely described in Quintilian's
192:in honor of his host, a nobleman of
1746:For example, Aristotle referred to
1707:John Robert Skoyles, Dorion Sagan,
1685:, University of Chicago, 1966, p1-2
753:
24:
1724:, Simon & Schuster, 1986, p110
1670:The Hippocampus as a Cognitive Map
157:, dated to approximately 400 BCE.
118:or perhaps even earlier among the
25:
3124:
2525:Deese–Roediger–McDermott paradigm
2086:
2043:The Memory Palace of Matteo Ricci
1940:Eros and Magic In The Renaissance
791:
524:Congestorium artificiose memoriae
330:Perhaps following the example of
213:and the letters written upon it.
3070:
3058:
2127:
1779:, SLACK Incorporated, 2001, p216
1213:Carruthers & Ziolkowski 2002
893:
879:
247:, which was in keeping with the
2005:. University of Chicago Press.
1942:. University of Chicago Press.
1838:. University of Toronto Press.
1800:
1782:
1769:
1740:
1727:
1714:
1701:
1696:Perspectives in Memory Research
1688:
1675:
1668:John O'Keefe & Lynn Nadel,
1662:
1644:
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1579:
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1332:
1319:
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1301:
1284:
1255:The Oxford Classical Dictionary
1234:
1225:
1216:
1207:
1178:
1146:The Complete Works of Aristotle
494:
419:Visual sense and spatial memory
2735:Atkinson–Shiffrin memory model
2608:Memory and social interactions
1904:. Cambridge University Press.
1245:and the art(s) of memory (p15
1169:
1160:
1151:
1138:
1129:
1120:
1107:
1082:
514:
13:
1:
1823:
1622:– via www.academia.edu.
1356:Rossi 2000 p102; Bolzoni 2001
1190:Oxford Dictionaries | English
996:Practitioners & exponents
600:
587:
413:
188:, who was invited to chant a
2444:Retrieval-induced forgetting
2047:. New York: Viking Penguin.
2039:Spence, Jonathan D. (1978).
1604:10.1016/j.actpsy.2012.09.002
1404:, 452 8-16, cited in Yates,
7:
2003:Logic and the Art of Memory
1986:. New York: Penguin Press.
1965:. Oxford University Press.
1429:Carruthers, 1990, pp. 67-71
1402:De memoria et reminiscentia
910:Haraguchi's mnemonic system
872:
10:
3129:
2782:Levels of Processing model
2707:World Memory Championships
2540:Lost in the mall technique
2387:dissociative (psychogenic)
2020:Small, Jocelyn P. (1956).
1576:, A. H. Maltby, 1835, p112
1383:Carruthers 1990, pp. 81-82
1365:Carruthers 1990, pp. 94-95
1068:World Memory Championships
795:
612:
170:On Memory and Reminiscence
36:
29:
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2135:
1900:Carruthers, Mary (1998).
1872:Carruthers, Mary (1990).
1711:, McGraw-Hill, 2002, p150
1452:Finger, Stanley. (1994).
545:
43:The Art of Memory (album)
2820:The Seven Sins of Memory
2765:Intermediate-term memory
2570:Indirect tests of memory
2547:Recovered-memory therapy
2497:Misattribution of memory
1075:
455:
2507:Source-monitoring error
2022:Wax Tablets of the Mind
1720:Linda Verlee Williams,
1559:Carruthers 1990, p. 222
1104:Carruthers 1990, p. 123
1006:Lodge Mother Kilwinning
317:A Treatise On Mnemonics
2914:George Armitage Miller
2874:Patricia Goldman-Rakic
1938:Culianu, Ioan (1987).
1857:. Ashgate Publishers.
1853:Bolzoni, Lina (2004).
1830:Bolzoni, Lina (2001).
1752:Rhetorica ad Herennium
1520:Yates, 1966, pp. 39-42
1392:Carruthers 1990, p. 82
1135:Yates, 1966, pp. 27-30
974:Serial position effect
927:in Greek mythologie a
777:
751:
704:
687:
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632:Rhetorica ad Herennium
609:Architectural mnemonic
578:
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543:
527:
492:
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327:
236:
225:
215:
128:Rhetorica ad Herennium
68:
56:
3077:Philosophy portal
3065:Psychology portal
2929:Henry L. Roediger III
2530:False memory syndrome
2502:Misinformation effect
2482:Imagination inflation
2024:. London: Routledge.
2001:Rossi, Paolo (1657).
1980:Foer, Joshua (1996).
1957:Dudai, Yadin (2002).
1834:The Gallery of Memory
1807:Second Schaw Statutes
1733:Elizabeth F. Loftus,
1538:Yates 1966, pp. 42-43
1374:Carruthers 1990, p. 7
1175:Carruthers 1990, 1998
772:
730:
699:
674:
661:
652:
570:
560:
538:
522:
480:
471:
441:
408:after-dinner speakers
332:Metrodorus of Scepsis
325:
231:
220:
206:
141:(Bk II 350–360), and
51:
2434:Motivated forgetting
1902:The Craft of Thought
1794:www.laits.utexas.edu
1196:on November 25, 2016
1157:Yates, 1966, pp. 1-2
943:Mnemonic link system
625:"the method of loci"
526:, by Johann Romberch
282:Saint Thomas Aquinas
175:medieval Scholastics
82:first millennium BCE
2944:Arthur P. Shimamura
2844:Richard C. Atkinson
2661:Effects of exercise
2535:Memory implantation
2419:Interference theory
2335:Selective retention
2315:Meaningful learning
1126:Yates, 1966, pp. 29
915:Interference theory
726:Apollonius of Tyana
582:Von Restorff effect
388:Counter-Reformation
336:Institutio oratoria
148:Institutio Oratoria
110:Origins and history
3113:Exceptional memory
3041:Andriy Slyusarchuk
2864:Hermann Ebbinghaus
2770:Involuntary memory
2671:Memory improvement
2656:Effects of alcohol
2618:Transactive memory
2596:Politics of memory
2565:Exceptional memory
1961:Memory from A to Z
1874:The Book of Memory
1812:2009-03-05 at the
1775:Sharon A. Gutman,
1570:Alexander Jamieson
1053:Hugh of St. Victor
1028:Thomas Bradwardine
1018:St. Thomas Aquinas
707:Graphical mnemonic
533:associative values
528:
433:Hugh of St. Victor
328:
276:seven liberal arts
237:
226:
211:wax writing-tablet
57:
3085:
3084:
3049:
3048:
3036:Cosmos Rossellius
2884:Marcia K. Johnson
2755:Exosomatic memory
2740:Context-dependent
2730:Absent-mindedness
2613:Memory conformity
2591:Collective memory
2492:Memory conformity
2429:Memory inhibition
2348:
2347:
2340:Tip of the tongue
2068:The Art of Memory
2063:Yates, Frances A.
1993:978-1-59420-229-2
1883:978-0-521-38282-3
1855:The Web of Images
1764:artes memorativae
1683:The Art of Memory
1592:Acta Psychologica
1547:Yates 1966, p. 43
1440:The Art of Memory
1406:The Art of Memory
1327:The Art of Memory
1292:The Art of Memory
1090:The Art of Memory
1058:Johannes Romberch
901:Psychology portal
842:Simonides of Ceos
829:The Art of Memory
431:, in a review of
356:scientific method
298:Cosmos Rossellius
224:, by Robert Fludd
198:Castor and Pollux
182:Simonides of Ceos
120:ancient Egyptians
39:The Art of Memory
16:(Redirected from
3120:
3075:
3074:
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3062:
3061:
3016:Jonathan Hancock
2969:Robert Stickgold
2939:Richard Shiffrin
2894:Elizabeth Loftus
2834:
2833:
2750:Childhood memory
2557:Research methods
2439:Repressed memory
2414:Forgetting curve
2402:transient global
2273:Autobiographical
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754:Textual mnemonic
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2954:Susumu Tonegawa
2934:Daniel Schacter
2909:Eleanor Maguire
2899:Geoffrey Loftus
2854:Stephen J. Ceci
2849:Robert A. Bjork
2825:
2744:state-dependent
2718:
2690:
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2603:Cultural memory
2579:
2575:Memory disorder
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2511:
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1814:Wayback Machine
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1681:Frances Yates,
1680:
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1667:
1663:
1658:. 2 April 2023.
1656:artofmemory.com
1650:
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1640:. 3 April 2023.
1638:artofmemory.com
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1598:(3): 380–390.
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1048:William Fowler
1045:
1040:
1035:
1033:Giordano Bruno
1030:
1025:
1023:Giulio Camillo
1020:
1014:
1009:
1008:
1002:
997:
994:
992:
991:
986:
981:
979:Spacing effect
976:
971:
966:
961:
955:dominic system
940:
935:
922:
917:
912:
906:
905:
904:
890:
887:History portal
874:
871:
832:as well as by
798:Method of loci
796:Main article:
793:
792:Method of loci
790:
781:silent reading
768:Pope Gregory I
755:
752:
708:
705:
615:Method of loci
613:Main article:
610:
607:
602:
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547:
544:
516:
513:
496:
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457:
454:
420:
417:
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412:
403:René Descartes
340:Giordano Bruno
111:
108:
54:Giordano Bruno
26:
9:
6:
4:
3:
2:
3125:
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3019:
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3007:
3001:
3000:Clive Wearing
2998:
2996:
2993:
2991:
2988:
2986:
2983:
2982:
2980:
2976:
2970:
2967:
2965:
2964:Endel Tulving
2962:
2960:
2959:Anne Treisman
2957:
2955:
2952:
2950:
2947:
2945:
2942:
2940:
2937:
2935:
2932:
2930:
2927:
2925:
2922:
2920:
2919:Brenda Milner
2917:
2915:
2912:
2910:
2907:
2905:
2904:James McGaugh
2902:
2900:
2897:
2895:
2892:
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2880:
2877:
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2869:Sigmund Freud
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2839:
2835:
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2822:
2821:
2817:
2814:
2813:retrospective
2810:
2807:
2803:
2800:
2799:
2798:
2795:
2793:
2792:Muscle memory
2790:
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2640:
2639:Art of memory
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2490:
2488:
2487:Memory biases
2485:
2483:
2480:
2478:
2475:
2473:
2470:
2468:
2467:Confabulation
2465:
2464:
2462:
2460:
2459:Memory errors
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2400:
2398:
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2378:
2377:post-hypnotic
2375:
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2330:Rote learning
2328:
2326:
2323:
2321:
2318:
2316:
2313:
2311:
2308:
2306:
2305:Hyperthymesia
2303:
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2298:
2294:
2291:
2289:
2286:
2284:
2281:
2280:
2279:
2276:
2274:
2271:
2269:
2268:Active recall
2266:
2265:
2263:
2261:
2257:
2251:
2248:
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2241:
2240:
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2165:Consolidation
2163:
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2144:
2141:
2140:
2138:
2134:
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2118:
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2103:
2100:
2094:
2091:
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2056:
2054:0-14-008098-8
2050:
2045:
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2037:
2033:
2031:0-415-14983-5
2027:
2023:
2018:
2014:
2012:0-226-72826-9
2008:
2004:
1999:
1995:
1989:
1985:
1984:
1978:
1974:
1972:0-19-850267-2
1968:
1963:
1962:
1955:
1951:
1949:0-226-12316-2
1945:
1941:
1936:
1932:
1930:0-8122-3676-9
1926:
1922:
1917:
1913:
1911:0-521-58232-6
1907:
1903:
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1864:0-7546-0551-5
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1845:0-8020-4330-5
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1463:0-19-506503-4
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1123:
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1066:
1064:
1063:William Schaw
1061:
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729:
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723:
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703:
698:
697:he suggested
696:
691:
686:
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673:
669:
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537:
534:
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521:
512:
510:
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502:
491:
489:
485:
484:money-changer
479:
475:
470:
468:
464:
453:
451:
445:
440:
438:
434:
430:
426:
411:
409:
404:
400:
399:Francis Bacon
396:
391:
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385:
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359:
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353:
349:
345:
341:
337:
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318:
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306:
301:
299:
295:
291:
290:scholasticism
287:
283:
279:
277:
273:
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121:
117:
107:
104:
102:
98:
93:
91:
87:
83:
79:
78:mnemotechnics
74:
70:
66:
62:
61:art of memory
55:
50:
44:
40:
33:
19:
18:Mnemotechnics
3031:Ben Pridmore
2949:Larry Squire
2859:Susan Clancy
2818:
2702:Memory sport
2638:
2627:Other topics
2517:False memory
2472:Cryptomnesia
2449:Weapon focus
2409:Decay theory
2170:Neuroanatomy
2129:Human memory
2067:
2042:
2021:
2002:
1982:
1960:
1939:
1920:
1901:
1894:Google Books
1873:
1854:
1833:
1802:
1793:
1784:
1776:
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1708:
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1695:
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1677:
1669:
1664:
1655:
1646:
1637:
1628:
1595:
1591:
1581:
1573:
1564:
1543:
1534:
1525:
1516:
1507:
1498:
1489:
1480:
1453:
1447:
1439:
1434:
1425:
1418:Ad Herrenium
1417:
1413:
1405:
1401:
1397:
1388:
1379:
1370:
1361:
1352:
1347:Culianu 1987
1343:
1334:
1326:
1321:
1312:
1303:
1295:
1291:
1286:
1278:
1274:
1270:
1266:
1262:
1258:
1254:
1250:
1246:
1242:
1236:
1227:
1222:Bolzoni 2004
1218:
1209:
1198:. Retrieved
1194:the original
1189:
1180:
1171:
1162:
1153:
1145:
1140:
1131:
1122:
1114:
1109:
1089:
1084:
1038:Robert Fludd
1012:Individual:
1011:
999:
964:Memory sport
947:major system
865:
863:
860:
838:
827:
825:
813:neurobiology
803:
801:
786:
778:
773:
763:
761:
757:
746:
742:
737:
733:
731:
721:
718:
713:
710:
700:
694:
692:
688:
682:
678:
675:
670:
666:
662:
658:
653:
648:Ad Herennium
647:
644:Ad Herennium
643:
636:Ad Herennium
635:
631:
629:
620:
618:
604:
594:
591:
579:
573:
571:
566:
561:
556:Ad Herennium
555:
553:
549:
539:
529:
523:
504:
500:
498:
495:Limited sets
481:
477:
472:
466:
462:
459:
449:
447:
442:
436:
424:
422:
392:
377:
360:
347:
335:
329:
316:
313:Christianity
309:Matteo Ricci
302:
280:
269:
265:
238:
232:
221:
207:
179:
168:
162:
152:
146:
136:
126:
124:
116:Pythagoreans
113:
105:
100:
94:
77:
69:ars memoriae
60:
58:
2889:Eric Kandel
2837:Researchers
2809:Prospective
2760:Free recall
2714:Shas Pollak
2367:anterograde
2283:Declarative
1442:, 1966, p29
1420:, III, xxii
1408:, 1966, p34
1263:Atrii Imago
1247:footnote 16
1231:Spence 1984
969:Piphilology
743:Ars Notoria
738:Ars Notoria
734:Ars Notoria
722:Ars Notoria
515:Association
437:Didascalion
384:Reformation
352:Hermeticism
348:Ars Notoria
344:Ramon Llull
307:missionary
271:Ars Notoria
262:Renaissance
258:Middle Ages
253:dialectical
233:Ars Notoria
222:Ars Memoriæ
184:, a famous
164:On The Soul
97:association
3092:Categories
2924:Lynn Nadel
2802:intertrial
2787:Metamemory
2775:flashbacks
2695:In society
2392:retrograde
2354:Forgetting
2325:Procedural
2235:Short-term
2205:Eyewitness
2078:071265545X
1824:References
1316:Yates 1966
1200:2016-11-24
951:peg system
821:Philosophy
809:psychology
601:Techniques
588:Repetition
463:artificial
414:Principles
395:Dialectics
294:Dominicans
266:Notory Art
249:rhetorical
245:meditation
239:The early
190:lyric poem
186:Greek poet
143:Quintilian
138:De oratore
131:(Bk III),
3103:Dialectic
3098:Mnemonics
2676:Nutrition
2584:In groups
2397:selective
2372:childhood
2300:Flashbulb
2260:Long-term
2160:Attention
938:Mnemonist
929:Titanness
925:Mnemosyne
681:suggests
679:testiculi
650:suggests
488:money bag
450:in a room
202:panegyric
159:Aristotle
3108:Rhetoric
2978:Patients
2649:mnemonic
2644:chunking
2310:Implicit
2293:Semantic
2288:Episodic
2278:Explicit
2143:Encoding
2065:(1966).
1810:Archived
1620:15858384
1612:23098905
1472:27151391
1294:, 1966;
1115:Dialexis
920:Linkword
873:See also
595:Dialexis
574:intentio
509:chunking
501:brevitas
465:and the
425:Dialexis
368:Puritans
364:occluded
286:Prudence
268:(Latin:
260:and the
194:Thessaly
154:Dialexis
86:rhetoric
73:mnemonic
2797:Priming
2723:Related
2666:Emotion
2362:Amnesia
2200:Eidetic
2187:Sensory
2148:Storage
1281:, etc.)
846:Skoyles
505:divisio
467:natural
372:Erasmus
2830:People
2815:memory
2746:memory
2686:Trauma
2225:Visual
2215:Iconic
2210:Haptic
2195:Echoic
2153:Recall
2075:
2051:
2028:
2009:
1990:
1969:
1946:
1927:
1908:
1880:
1861:
1842:
1816:, 1599
1618:
1610:
1470:
1460:
1298:, 1964
1275:Carcer
1271:Basili
1267:Altare
1265:(e.g.
957:, and
817:memory
759:kind.
695:Topics
683:testes
640:Cicero
546:Affect
305:Jesuit
133:Cicero
3009:Other
2681:Sleep
2634:Aging
2179:Types
1748:topoi
1616:S2CID
1279:Domus
1251:notae
1243:notae
1076:Notes
933:Hades
850:Sagan
834:Luria
804:locus
764:notae
747:notae
714:notae
456:Order
101:notae
90:logic
65:Latin
2811:and
2742:and
2073:ISBN
2049:ISBN
2026:ISBN
2007:ISBN
1988:ISBN
1967:ISBN
1944:ISBN
1925:ISBN
1906:ISBN
1878:ISBN
1859:ISBN
1840:ISBN
1608:PMID
1468:OCLC
1458:ISBN
848:and
815:and
621:loci
503:and
461:the
401:and
386:and
303:The
251:and
167:and
59:The
1892:on
1762:or
1756:and
1600:doi
1596:141
866:and
435:'s
145:'s
135:'s
88:or
3094::
2995:NA
2990:KC
2985:HM
1792:.
1654:.
1636:.
1614:.
1606:.
1594:.
1590:.
1572:,
1552:^
1466:.
1277:,
1273:,
1269:,
1188:.
1097:^
953:,
949:,
945:,
823:.
811:,
584:.
511:.
410:.
338:,
300:.
177:.
67::
2246:"
2242:"
2121:e
2114:t
2107:v
2081:.
2057:.
2034:.
2015:.
1996:.
1975:.
1952:.
1933:.
1914:.
1896:)
1888:(
1886:.
1867:.
1848:.
1796:.
1602::
1474:.
1203:.
63:(
45:.
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
