07:30 At the root of cybernetics and Chris his research lies the question of communication. This combines his interests of mnemonics, orality, cybernetics, et al. (literacy, indigenous people)

08:12 Even music and dance can be used to transmit information from one generation to the other.

for - search - Google - dance controller music - https://www.google.com/search?q=dance+controlled+music+via+digital+music+synthesizers&sca_esv=d08583a7fccca1f9&sxsrf=ACQVn0_xbjv4UO4LDtraXxWBqXFSmk4mXA%3A1714004585223&ei=aaIpZr6XDfeSxc8PuOGkwAk&oq=dance+controlled+music+via+digital+music+synthesizers&gs_lp=EhNtb2JpbGUtZ3dzLXdpei1zZXJwIjVkYW5jZSBjb250cm9sbGVkIG11c2ljIHZpYSBkaWdpdGFsIG11c2ljIHN5bnRoZXNpemVyczIIECEYoAEYwwRImIYBUJQXWPRwcAR4AZABAJgB2QOgAZ4PqgEFMy00LjG4AQPIAQD4AQGYAgmgApcQwgIKEAAYsAMY1gQYR8ICCBAAGIAEGKIEwgIKECEYoAEYwwQYCpgDAIgGAZAGCJIHBzQuMy00LjGgB6UO&sclient=mobile-gws-wiz-serp#ip=1

search results returned and explored - .New Interfaces for Musical Expression https://www.nime.org › nim...PDF - Towards the Concept of “Digital Dance and Music Instrument” by J Tragtenberg · Cited by 11 — ABSTRACT. This paper discusses the creation of instruments in which music is intentionally generated by dance. We introduce the. - https://viahtml.hypothes.is/proxy/https://www.nime.org/url?sa=t&source=web&rct=j&opi=89978449&url=https://www.nime.org/proceedings/2019/nime2019_paper018.pdf&ved=2ahUKEwiu2JrmjtyFAxVVMlkFHQ7lClA4ChAWegQICBAB&usg=AOvVaw0wVrH8px0_May--FiZOk6X - dead link - Arm Tracks: All-Body-Controlled Ableton Live, with Kinect, Brings ... - Jul 12, 2012 — This is achieved with a 3D sensor (Kinect) able to map the joints of a human body, then tracking their movements which are translated to musical - dead link - University of California, Irvine https://music.arts.uci.edu › S...PDF Gestural Control of Music using the Vicon Motion Capture System by F Bevilacqua · Cited by 9 — Music control from 3D motion capture of dance ... electronic music triggered by dancer gestures, ... The use of the Vicon motion capture - dead link - https://music.arts.uci.edu/url?sa=t&source=web&rct=j&opi=89978449&url=https://music.arts.uci.edu/dobrian/motioncapture/SoundControl_MotionCapture.pdf&ved=2ahUKEwiu2JrmjtyFAxVVMlkFHQ7lClA4ChAWegQIBBAB&usg=AOvVaw0OnQTekJ_Ev3scqkCOV079l

Maths, Logic, Computer Science, Chess, Music, and Dance

A similar observation could be made about mathematics, logic, and computer science. Sadly, public education in the states seems to lose sight that the formalisms in these domains are merely the tools of the trade and not the trade itself (ie, developing an understanding of the fundamental/foundational notions, their relationships, their instantiations, and cultivating how one can develop capacity to "move" in that space).

Similarly, it's as if we encourage children that they need to merely memorize all the movements of chess pieces to appreciate the depth of the game.

Or saying "Here, just memorize these disconnected contortions of the hand upon these strings along this piece of wood. Once you have that down, you've experienced all that guitar, (nay, music itself!) has to offer."

Or "Yes, once, you internalize the words for these moves and recite them verbatim, you will have experienced all the depth and wonder that dance and movement have to offer."

However, none of these examples are given so as to dismiss or ignore the necessity of (at least some level of) formalistic fluency within each of these domains of experience. Rather, their purpose is to highlight the parallels in other domains that may seem (at first) so disconnected from one's own experience, so far from one's fundamental way of feeling the world, that the only plausible reasons one can make to explain why people would waste their time engaging in such acts are 1. folly: they merely do not yet know their activities are absurd, but surely enough time will disabuse them of their foolish ways. 2. madness: they cannot ever know the absurdity of their acts, for "the absurd" and "the astute" are but two names for one and the same thing in their world of chaos. 3. apathy: they in fact do see the absurdity in their continuing of activities which give them no sense of meaning, yet their indifference insurmountably impedes them from changing their course of action. For how could one resist the path of least resistance, a road born of habit, when one must expend energy to do so but that energy can only come from one who cares?

Or at least, these 3 reasons can surely seem like that's all there possibly could be to warrant someone continuing music, chess, dance, maths, logic, computer science, or any apparently alien craft. However, if one takes time to speak to someone who earnestly pursues such "alien crafts", then one may start to perceive intimations of something beyond their current impressions

The contorted clutching of the strings now seems... coordinated. The pensive placement of the pawns now appears... purposeful. The frantic flailing of one's feet now feels... freeing. The movements of one's mind now feels... marvelous.

So the very activity that once seemed so clearly absurd, becomes cognition and shapes perspectives beyond words

Groups in arts education rail against the loss of music, dance, and art in schools and indicate that it's important to a balanced education.

Why has no one embedded these learning tools, for yes they can be just that, into other spaces within classrooms? Indigenous educators over the millennia have done just this in passing on their societal and cultural knowledge. Why have we lost these teaching methods? Why don't we reintroduce them? How can classrooms and the tools within them become mnemonic media to assist both teachers and learners?

Perhaps we need to bring back examples of how to do these things at the higher levels? I've seen excercises in my daughter's grade school classrooms that bring art and manipulatives into the classroom as a base level, but are they being done specifically for these mnemonic reasons?

Michael Nielsen and Andy Matuschak have been working at creating a mnemonic medium for areas like quantum mechanics relying in part on spaced repetition. Why don't they go further and add in dance, movement, art, and music to aid in the process. This can be particularly useful for creating better neurodiverse outcomes as well. Education should be more multi-modal, more oral, and cease it's unending reliance on only literacy as it's sole tool.

How and where can we create a set of example exercises at various grade levels (similar to rites of knowledge initiation in Indigenous cultures, for lack of specific Western language) that embed all of these methods

Link to: - Ideas in The Extended Brain about movement, space, etc. - Nielsen/Matuschak mnemonic media work

This sounds like the sort of place where one might apply Walter Ong's work on orality or Lynne Kelly and Margo Neale's Songlines (Thames & Hudson, 2021).

I just bookmarked this article published today in Current Biology for later reading and annotation. While the article isn't specifically focused on memory, the fact that it touches on visual structures, emotion, music, and movement (dance) which are core to some peoples' memory toolkits, I thought that many here would find it to be of interest.

One of the authors provided the following tl;dr synopsis:

"Across the world, people express emotion through music and dance. But why do music and dance go together?

We tested a deceptively simple hypothesis: Music and movement are represented the same way in the brain."

• Article: Visual and auditory brain areas share a representational structure that supports emotion perception01283-5) (Current Biology, 2021)
• Preprint: https://www.biorxiv.org/content/10.1101/254961v4

For those who haven't integrated song or dance into their practices, searching around for the idea of songlines will give you some background on their possible uses.

cc: @LynneKelly

Visual and auditory brain areas share a representational structure that supports emotion perception https://www.cell.com/current-biology/fulltext/S0960-9822(21)01283-5

This portends some interesting results with relation to mnemonics and particularly songlines and indigenous peoples' practices which integrate song, movement, and emotion.

Preprint: https://www.biorxiv.org/content/10.1101/254961v4

Across the world, people express emotion through music and dance. But why do music and dance go together? <br><br>We tested a deceptively simple hypothesis: Music and movement are represented the same way in the brain.

— Beau Sievers (@beausievers) October 12, 2021

<small><cite class='h-cite via'>ᔥ <span class='p-author h-card'>Beau Sievers </span> in "New work published today in Current Biology Visual and auditory brain areas share a representational structure that supports emotion perception With @ThaliaWheatley @k_v_n_l @parkinsoncm @sergeyfogelson (thread after coffee!) https://t.co/AURqH9kNLb https://t.co/ro4o4oEwk5" / Twitter (<time class='dt-published'>10/12/2021 09:26:10</time>)</cite></small>

Arts mentorship: dance, music, film.

This is my band. We play for barn dances and ceilidhs.