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A Brain Pickings project edited by Maria Popova in partnership with Noodle.
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memory
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A fascinating meditation on the shortcomings of memory, necessary for the creative mind, by neurologist Oliver Sacks.

We, as human beings, are landed with memory systems that have fallibilities, frailties, and imperfections — but also great flexibility and creativity. Confusion over sources or indifference to them can be a paradoxical strength: if we could tag the sources of all our knowledge, we would be overwhelmed with often irrelevant information.

Indifference to source allows us to assimilate what we read, what we are told, what others say and think and write and paint, as intensely and richly as if they were primary experiences. It allows us to see and hear with other eyes and ears, to enter into other minds, to assimilate the art and science and religion of the whole culture, to enter into and contribute to the common mind, the general commonwealth of knowledge. This sort of sharing and participation, this communion, would not be possible if all our knowledge, our memories, were tagged and identified, seen as private, exclusively ours. Memory is dialogic and arises not only from direct experience but from the intercourse of many minds.

Neurologist Oliver Sacks on memory and its necessary fallibility
We now know that memories are not fixed or frozen, like Proust’s jars of preserves in a larder, but are transformed, disassembled, reassembled, and recategorized with every act of recollection.
Memory is dialogic and arises not only from direct experience but from the intercourse of many minds.
Memory is never a precise duplicate of the original….it is a continuing act of creation. Dream images are the product of that creation.
Most of us think of memory as a chamber of the mind, and assume that our capacity to remember is only as good as our brain. But according to some architectural theorists, our memories are products of our body’s experience of physical space. Or, to consolidate the theorem: Our memories are only as good as our buildings.
Sarah Rich on the architecture of memory for The Smithsonian. Also see why memory is not a recording device.

Joshua Foer, author of the excellent Moonwalking with Einstein: The Art and Science of Remembering Everything, shares memory-hacking secrets anyone can master through the creation of “memory palaces.” 

( Doobybrain)

The biggest lie of human memory is that it feels true. Although our recollections seem like literal snapshots of the past, they’re actually deeply flawed reconstructions, a set of stories constantly undergoing rewrites.