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Dreaming of performing – what a performance

I call this blog ‘Mind Bursts’ for a reason.

A decade ago, curating thoughts and ideas and putting them online to share and simply to store it struck me that I was simply assembling things that had ‘gone ping’ in my brain. There are few greater such moments that a vivid dream … however vacuous, passing and potentially ephemeral they may be.

After many years of getting nowhere, in my late twenties, at a guess, perhaps early thirties, I go to three auditions and am quickly offered three parts: a musica, a play and a film: all require singing, each is a ‘breakthrough’ role and in the case of the film, as the female director who ‘discovered me’ tells me ‘is worth £35,000’ for the first weekend alone. This person offers the suggestion that I get an agent and manager, especially when I let slip that I have a major theatre piece to consider too. It is the producers of this piece who ‘take me in hand’ running me around in a frenetic whirl of introductions before making it to a read through. It is here that a crack begins to appear, not least I haven’t resolved that fact that I can only do one of these productions, but everyone at the read through smokes and for health reasons, whoever well managed my asthma, I don’t want to say. I try to talk this through with the director thinking that maybe we’d take the read through outside, or people would not smoke, but instead she offers me the remains of her joint – which at first I refuse. I then take it, pleasing her, and becoming relaxed, light headed and more accepting of the circumstances. I wake as a form of running away, as I know the only solution is to leave. I wake and leave the dream world knowing that wanting it all I will get none of it.

It is years since I cared to work with a dream, but they are a ‘mind burst’ of the purest form given that they are the creation of the subconscious. I have a way to work these through as a dream never means what it appears to be. They rarely even have narrative form, but are an expression of immediate feelings, sensations, experiences and thoughts. I want to be after watching two contrasting films of ‘Great Expectations’ – the moody, memorable black and white version of David Lean and the moodless, forgettable, muddy, messy and forgettable recent version by Mike Newell: wrong cast, wrong settings, wrong approach, wrong music, lack of tone, pace or mood. Dreadful script, clumsy acting, misdirected in the purest sense of the word. Had that anything to do with my dreamworld?

“Nights through dreams tell the myths forgotten by the day.” — C.G. Jung (Memories, Dreams, Reflections)

1: Who are you in the dream?

Still me. Though single. ‘Unsettled in London’ – so in a job, but not following my heart. At a guess 28 … and between relationships or floating away from yet another failing one.

2: Who are you with in the dream?

Alone, but quickly befriended, or adopted by each director in turn for the productions I’ve auditioned for: a musical, a film and a play. I think. Or two films and a musical? Does it matter! All my age, a male director, then two female.

3: What details stand out?

Being in a theatre in the morning when there are no members of the public about: the wonder of that and being behind the scenes and stepping away from the throng of a busy city street.

4: What do you feel about these details?

Nostalgia for involvement in theatre performing in my late teens and early twenties.

5: What are the various actions in the dream?

Attending auditions, or even turning up to hear the result of an audition and in each case, most unexpectedly, being the perfect person for the role. All things being equal it appeared to be my singing voice that the wanted – that clinched it.

6: How are you acting and behaving in this dream?

Bemused, enthralled and caught up in each director’s enthusiasm for their production.

7: What relation does this dream have to your personality?

Hankering after performance. A love for ‘doing’ theatre and play acting, rather than the watching of it. i.e. behind the scenes, in dressing rooms, going through read throughs and rehearsals, the other worldliness of it … the thrill and relief of being able to ‘join’ this merry throng of creators. The joy of being part of a big team under professional direction.

8: What does the dream want from you?

To deliver.

9: What are the various feelings in this dream?

Thrilled. But knowing, if the answer isn’t obvious, that I will have to let two people down. I want to go with the film. Each director is likeable. I know none of them. I prefer the film director. Like a young Virginia Makenner. Very practical, persuasive and supportive. She is the only one who suggests and wants me to get an agent or manager involved to bother with my life so I can concentrate on the part. I ask, as if I can’t quite believe it, if there are other skills they need that I don’t have such as dancing or tap dancing even? She laughs. It is very reassuring: I am what and who she wants.

10: What relation does this dream have to what is happening right now in your life?

For a period life really was a series of auditions – both for parts in plays and musicals, and job interviews. You do anything creative and there comes a time, whether as a singer, performer, artist, writer … or director that you have to be interviewed, show you work and even perform. I hanker after it still. Probably because I so loved the early days of a production and the natural progression to the first night … in this respect far preferring theatre to filmmaking which is very bitty, and for an actor involves a good deal of sitting around, the real ‘action’ being behind and around the camera.

11: Why did you need this dream?

A reminder that all forms of writing are potentially a blueprint to a performance of some kind? The joy of thinking about casting choices made when you compare how the same story is told.

12: Why have you had this dream right now?

Much of my time is spent thinking about the performance of a fictional character and the need for him to be taken up and loved by others. I suppose a fictional character, unlike a real one, could appear in the play, musical and film all at the same time as he can after all be played by anyone. It is refreshing, if not disconcerting, to have a dream as if I were 25 years younger – yet I feel that ‘things’ are as possible now as they have ever been. Though perhaps I am reminded that ultimately isolation is not my desire.

13: What relation does this dream have to something in your future?

It is about acceptance and recognition, even a kind of adulation and ‘must have’ desire in a team of creatives. I empathise with that moment an actor is courted and slowly embraced by a ‘company’ – it is a courtship. I know that my own mistake is or always has been, to try and have or do all three .. that I can never be happy with the decision I make, and that compromising, or leading others on without being realistic is a mistake. Maybe I need to have that agent making some decisions for me if situations like this are to come about, let alone if I am to settle, succeed and thrive.

14: What questions arise because of this dream work?

At some point the ‘art’ becomes bigger than you. Whilst an actor is a corporeal expression of a role, the role is bigger than them. Other actors can and would be found. You can enjoy the ride. It needs others to carry the tune, or to take up the story and to fuel it in the way they see fit?

15: Who or what is the adversary in the dream?

Me. Letting a problem develop. I cannot do all three. It is chance that on the same day I am offered three parts. It is very clear I cannot do all three. The fact that I share my dilemma with the film director is a kind of cry for help that she answers by saying that there are professionals to turn to. I know though that I don’t need to a professional to tell me I want to do the film, and not the play or musical … and the cast of smokers should have emphasised that. Who knows? An agent may say the film is unfunded, the musical struggling because lead players keep quitting … I am not to know and am too enthralled by that day of feeling as if you have won the Lottery.

16: What is being wounded in this dream?

The spoiling of the joy of saying “I’ve got it” – because by ‘getting’ three parts a significant dilemma presents itself.

17: What is being healed in this dream?

The idea that I might never again have that joyous feeling of being welcomed into a ‘team of players’ – I have always been thrilled by that moment.

18: What or who is the helping or healing force in this dream?

I don’t question the support and influence of others, in this case the two quite different directors, who happen to be female: one provides advice, understandably believing that she ‘has me’ – and when I admit to her there is another part I have been offered she pragmatically suggests a third party coming in to help me make the decision. The second director is so gung ho, takes me off to see people in her car with her co-director or producer and has me in a read through before I’m aware I’ve even said yes. I guess, if as young actor were offered three ‘dream’ roles after a career has been languishing each producer/director would naturally assume that they have their man?

19: Who or what is your companion in this dream?

Whomsoever I allowed to be … or no one.

20: Who are your helpers and guides in life as well as in your dreams?

Whomsoever I allowed to be … or no one. I am so bad at taking the right decision, or ignoring advice and doing the opposite, that I frankly relish that actors joy of being told what to do … just so long as it is a ‘good’ part rather than ‘man with spear.’

21: What symbols in this dream are important to you?

Behind the scenes in a theatre and at a read through. Being part of a ‘troupe’.

22: What actions might this dream be suggesting you consider?

Learn how to say no politely? If you can’t do that have someone else do it. Keep questing after the sensations that came from the dream: being welcomed into a throng of fellow performers and creatives.

23: What can happen if you work actively with this dream?

I do wonder sometimes how it is that I can end up, in a series of steps, so far away from the only world I wanted to be a part of since I was a kid and how despite on a number of occasions being embedded in such a world that it turned out to be so fleeting. I remember being on the stage for the first time and my love for the audience. I remember the joy of singing, even to a group of friends. I remember the pleasure of showing a drawing that thrills the sitter. I remember in wonder being on a film set for weeks. And casting actors. And directing them as they say many words. And being the one all turn to recreating a traffic accident where we had actors, extras, all the emergency services, flaming cars, make-up, film and video … Maybe I am so angry at how poor the Mike Newell film ‘Great Expectations’ is compared to David Lean’s version. Having recently re-read the book, seeing these back to back allows me to see all the joins, faults, and decisions. The wrong script, a poor understanding of the book … no ‘theatricality’ in the production beyond the costumes, even Ralph Fiennes being more of a Fagan than a Magwitch, the ham acting of David Walliams … or perhaps the familiar to have all the ‘characters’ played by character actors?! I’ve viewed with a critical eye every film or TV series I’ve seen since … forever. But I am, and have always been someone who never wants to be in the audience: I want to be in the thick of it. I’m not a spectator despite appearances or circumstances. I have seriously set about making myself available as a extra again … just to be on set.

24: What is being accepted in this dream?

There are still things I can do, or should do, that will have value to fellow creators? That I am repeatedly in denial of what makes me exceptional – not meant to be expressed in a big headed way, but rather sometimes none of us necessarily know what are skills are as we smother them by doing what ‘is expected of us’ or by the understandable drives of human nature: we marry, have and raise kids as a priority.

25: What choices can you make because of having this dream?

There is hope for me yet. I’m not that far away from aspects of this dream being a reality. I wouldn’t expect to be the performer, but I could imagine an actor taking a role that is my creation, that other ‘creatives’ latch on to and make into something. I did have the sense that all three of these productions were a similar thing.

26: What questions does this dream ask of you?

Get out there. Be part of a troupe. Be part of a creative team. Be with actors, directors, producers, artists, performers, stage hands, camera people ….

27: Why are you not dealing with this situation?

Inertia.

28: What do you want to ask your dream spirits?

Is it merely a compensatory dream? How can I sustain that joy of having or creating something that others want and are thrilled by? I got a kick from singing. I got a kick from people seeing my work in a gallery. I got a kick from being super fit and doing crazy things on a mountain!!! I am fed up being stuck at home, or ill (and ill). Despite the above, or it is part of it, I hanker after being on the ocean and under sail! Another team activity too. It is one thing to have a thrill on your own, it is quite another to share it – to have others enjoy your good fortune or to enjoy how thrilled you are about a thing.

Dreams in the digital ocean

Breaking Waves and Pelican

Breaking Waves and Pelican (Photo credit: Bill Gracey)

I’ve described it as a digital ocean often enough so I shouldn’t have been surprised when I found myself in it. That was a couple of nights ago.

Writing to a colleague with a mixture of excitement and concern I told them why they had to take an interest in Web 2.0. I explained that there would be an impact on the Pharmaceutical industry – she works in medical market research interviewing then analysing qualitative data and writing reports. I had written the sentence, ‘do you want to get on your surf board or get washed out in the ripe tide?’ when I visualised myself back in this dream.

I can use lucid dreams deliberately to help me dwell on matters, or just for the fun of it.

I remember being able to go back into dreams having woken up age 11 or so at boarding school: Beamish Dormitory, Mowden Hall School. I may have only been 10. I was in a three musketeers sword fight, three against one. I was killed. I woke and returned in the dream behind the three attackers. In my teens I found a book on it and learnt a few tricks to ‘find’ a dream or two from the night before and then some decades later I found a list of some 27 questions I could subject myself too if I really wished to get a sense of what was going on.

Today it is usually swift and automatic; I know that the dream, its location and events, are a projection of how I feel about an issue. After a couple of months of total immersion in Web 2.0 (Open University Masters in Open & Distance Education, OLDs MOOC) reading and coursework and trying to plan a long term future in this environment I started to find myself in the water.

The beach at Mawgan Porth, Cornwall seems to the spot, probably because for the first time ever in my life I got caught in the rip last summer. Had I not taken a pull-buoy out as a precaution I would have certainly been in trouble as my stomach and back cramped. (I’m a former competitive swimmer gone to seed – its ten years since I did a triathlon). It was a shock to find myself heading down the coast and looking inland for all intense and purposes as if from a bus window that was on its way.

In the dream though, I had a sense of both nerves and excitement at being in the waves just before they broke – my preference however was to get out beyond them.

What I take from this is the need to be adequately prepared – fit for the water and armed with a surf-board (if only to sit on it), even to have something to wave to get the lifeguards’ attention. An observer, and player, beyond the waves, suggests to me research.

This is my digital landscape visualised.

The flotsam and jetsam of old practices get washed away or left on the shore. The ‘players’ creating content in e-learning agencies and departments are on this breaking edge, where the oceans makes landfall.

 

The Digital Brain – envisaged at the Design Museum

Fig. 1. A mash-up in Picasa of a 3D laser generated image generated at the Design Museum during their ‘Digital Crystal’ exhibition.

The image exists and is transformed by the presence of the observer in front of a Kinex device making this a one-off and an expression or interpretation of that exact moment.

‘Working with dreams’ and ‘Keeping a dream journal’ are taught creative problem solving techniques at the Open University Business School. I did B822 ‘Creativity, Innovation and Change’ in 2012 (Henry et al 2010). I have the problem solving toolkit. I even got a hardback copy of VanGundy’s book on creative problem solving.

Using your unconscious isn’t difficult. Just go to bed early with a ‘work’ related book and be prepared to write it down when you stir.

I woke soon after 4.00am.

I’d nodded off between 9.30 and 11.30 so feel I’ve had my sleep.

Virtual bodies for first year medical students to work on, an automated mash-up of your ‘lifelog’ to stimulate new thinking and the traditional class, lecture and university as a hub for millions – for every student you have in a lecture hall you have 1000 online.

Making it happen is another matter.

I’m writing letters and with far greater consideration working on a topic or too for research.

“Nights through dreams tell the myths forgotten by the day.” — C.G. Jung (Memories, Dreams, Reflections)

How to work with a dream or metaphorical image:

  • Enter the dream
  • Study the dream
  • Become the images
  • Integrate the viewpoints
  • Rework the dream

Appreciating, reflecting, looking forward and emerging

REFERENCE

Glouberman, D. (1989) Life Choices and Life Changes Through Imagework, London, Unwin, pp. 232-6

Henry, J., Mayle, D., Bell, R., Carlisle, Y. Managing Problems Creatively (3rd edn) 2010. The Open University.

Isaacson, W. (2011) Steve Jobs. Little Brown.

VanGundy, A.B. (1988) Techniques of structured problem solving (2nd edn), New York: Van Nostran Reinhold.

 

 

 

Working with dreams : e-learning and the unconscious

Fig. 1. A mash-up in Picasa of a 3D laser generated image generated at the Design Museum during their ‘Digital Crystal’ exhibition.

The image exists and is transformed by the presence of the observer in front of a Kinex device making this a one-off and an expression or interpretation of that exact moment.

‘Working with dreams’ and ‘Keeping a dream journal’ are taught creative problem solving techniques at the Open University Business School. I did B822 ‘Creativity, Innovation and Change’ in 2012 (Henry et al 2010). I have the problem solving toolkit. I even got a hardback copy of VanGundy’s book on creative problem solving.

Using your unconscious isn’t difficult.

Just go to bed early with a ‘work’ related book and be prepared to write it down when you stir.

I woke soon after 4.00am. I’d nodded off between 9.30 and 11.30 so feel I’ve had my sleep.

Virtual bodies for first year medical students to work on, an automated mash-up of your ‘lifelog’ to stimulate new thinking and the traditional class, lecture and university as a hub for millions – for every student you have in a lecture hall you have 1000 online.

Making it happen is quite another matter. So I’m writing letters and with far greater consideration working on a topic or too for research.

“Nights through dreams tell the myths forgotten by the day.” C.G. Jung (Memories, Dreams, Reflections)

How to work with a dream or metaphorical image:

  • Entering the dream
  • Studying the dream
  • Becoming the images
  • Integrating the viewpoints
  • Reworking the dream

Appreciating, reflecting, looking forward and emerging

REFERENCE

Glouberman, D. (1989) Life Choices and Life Changes Through Imagework, London, Unwin, pp. 232-6

Henry, J., Mayle, D., Bell, R., Carlisle, Y. Managing Problems Creatively (3rd edn) 2010. The Open University.

Isaacson, W. (2011) Steve Jobs. Little Brown.

VanGundy, A.B. (1988) Techniques of structured problem solving (2nd edn), New York: Van Nostran Reinhold.

 

Creative Problem Solving Techniques Library: Keeping a Dream Diary and Working with Dreams

A dream in which people set value in ‘winning’ the right to be assessed only once they have undertaken a challenge or initiation in which they have to run into an ‘arena’ where a coach & horses (think Wild West) is speeding around the circuit and like a game of tag must stamp their fist/hand on the roof of the carriage.

For reasons unknown seemingly because it is the end of the ‘season’ (period, term) or there are no (or very few) people about (audience) as the driver of one of these carriages I can, and do slow right down.

To disavow you of the apparent risk or danger the pony and carriage might be something brought into the ‘ring’ (it was open air, dusty and improvised) by a clown or dwarf (though it wasn’t) as, looking at it, you can reach its roof at shoulder height, in other words, this ‘carriage’ could only carry one person (such as a child) I may sit atop to ‘drive’, or lead it/run it around the circuit, even though it is carriage-like in look and behaviour I don’t recall any horses or ponies, but it is powered (electric car or internal combustion engine).

Having ‘enrolled’ or help or enable a number of people to achieve/ do this task and so ‘join’ or have this chance to be part of the ‘scene/group/exercise or ‘assessment’ the suggestion is, to give a particular well-known ‘somebody’ a chance to ‘register’ for the first time. I should slow right – might even come to a stop and go off for a while. The character who then raps/taps his hand/fist on the top of the ‘carriage’ is a ‘Bill Wyman’ type.

Elsewhere in this blog I have a set of 27 or so probing questions that are designed for me, the dream ‘owner’ to extract meaning and value – as I perceive it. I will do this exercise and PERHAPS offer it as a separate document. However, as this will of necessity touch on facets of who I think I am, the personal not just the public me, and potentially my work set-up (people-and institution) I must of course be wary of such ‘exposure’ and ‘disclosure’.

Importantly, for B822 ‘Creativity, Innovation and Change’ this has or will prove to be an exercise that I can offer for my next TMA; what I don’t expect are colleagues to start sharing their dreams with me because to do so is highly personal. The context, people forget when considering a dream and its interpretation is the inner workings of a person and their feelings which are often contorted and exaggerated and reflect the interplay between their conscious and subconscious, their genetic make-up, and their upbringing and personal history.

How to analyse dreams – keeping a dream diary for business

If you wake up remembering a dream jot down the basics before they disappear for ever then try this set of questions out.

I don’t recall where I got is from but suspect as I am introduced to her work as part of B822 ‘Creativity, Innovation and Change’ that it is Patricia Garfield (1976).

It is part of the ‘Technique Library’.

We are invited to ‘Keep a dream diary’.

Wouldn’t that be interesting, to have reporters outside Downing Street first thing in the morning being briefed on PM Dream Time?

I can see it being used in the creative department of an ad agency or TV production company, or for product development, though I can’t imagine a Financial Director or Legal Manager wanting to turn to their dreams or the dreams of colleagues to solve a business problem.

I offer this to help extract the essence of the dream

1: Who are you in the dream?

2: Who are you with in the dream?

3: What details stand out?

4: What do you feel about these details?

5: What are the various actions in the dream?

6: How are you acting and behaving in this dream?

7: What relation does this dream have to your personality?

8: What does the dream want from you?

9: What are the various feelings in this dream?

10: What relation does this dream have to what is happening right now in your life?

11: Why did you need this dream?

12: Why have you had this dream right now?

13: What relation does this dream have to something in your future?

14: What questions arise because of this dream work?

15: Who or what is the adversary in the dream?

16: What is being wounded in this dream?

17: What is being healed in this dream?

18: What or who is the helping or healing force in this dream?

19: Who or what is your companion in this dream?

20: Who are your helpers and guides in life as well as in your dreams?

21: What symbols in this dream are important to you?

22: What actions might this dream be suggesting you consider?

23: What can happen if you work actively with this dream?

24: What is being accepted in this dream?

25: What choices can you make because of having this dream?

26: What questions does this dream ask of you?

27: Why are you not dealing with this situation?

28: What do you want to ask your dream spirits?

REFERENCE

Garfield, P. (1976) Creative Dreaming, New York, Ballantine, Chapter 8, ‘How to keep your dream diary’.

On keeping a dream diary

KEEPING A DREAM DIARY

Creative Dreaming

Appearing as a King’s Guard Special in the Walt Disney Movie ‘King Arthur and the Spaceman’. Here with my sister, one of the casting assistants in the courtyard of Alnwick Castle.

I suspect I was introduced to the idea of keeping a dream diary by my older sister in 1976 or 1977, probably from an article in a magazine promoting the work of Patricia Garfield.

As I kept a diary and enjoy exploring what my mind came up with in my dreams I would often write the dreams down, got used to exploring even returning to the dream and have many already online.

Around 2002 I came across a set of 20+ questions to ask yourself when probing for meaning in a dream; I would quote the source if I knew it.

Rather than fill this diary I have generally kept a separate dream diary.

REFERENCE

McKim, R.H. (1980) Experiences in Visual Thinking, Belmont, CA, PWS ( Wadworth Inc.) pp 101-3

Garfield, P. (1976) Creative Dreaming, New York, Ballantine, Chapter 8, ‘How to keep your dream diary’.

Johnny Depp was my line manager

And if real learning occurs, is it no longer ‘virtual?’

Where does reality end?

What part of your subconscious is real?

It happens after all, if yo think it or dream it. We distinguish between learning and e-learning; should we ? Did we distinguish a different reality after the train, after the telephone, after television or a man on the moon?

I am often online, I speak to people through Skype and Elluminate.

Yesterday I likened an Elluminate ‘tutorial’ with seven or eight fellow students as wearing a blindfold in a meeting; yo have to be alert to the presence of others, be sensitive to their interest (or lack of), their hand going up, or not. You are dependent on your only sighted person present – the tutor or moderator.

Over the last month I have been interviewed for a job on Skype. Producers have discussed my work on Skype.

I have been set task to show what I can do, somehow my body of work, the videos and scripts not real enough. Can I still fill a blank sheet of paper with pertinent and persuasive ideas; that’s what they want to know.

My blend of learning uses the conscious and subconscious.

I consciously go to bed with a book, now on Kindle, currently reading through my extensive highlights and notes on two books: Education Psychology (Vygotsky 1926) and ‘Rethinking Pedagogy for the Digital age (Helen Beetham & Rhona Sharpe eds. 2007). As I drift away I may close the Kindle, may slip it safely to one side .. may not. I matters not a jot. I’tll look after itself.

No wonder I find myself dwelling on all matter of things.

Earlier I woke thinking about one of these job interviews: it may be to work on contrast, it may be to work freelance, there are even a couple of full-time posts. All want to know what I have done recently. What they really need to know is what can I do for them next week or month. Or now.

As I return to consciousness I reflect on the interview that was on my mind, only to realise that it is highly unlikely that my future boss Is Johnny Depp. I’ve been duped by my own mind. No worries. The thoughts relate to the real opportunities, not this peculiar mash-up in a virtual world.

I have multiple presences in cyberspace with ‘faces on’ that may be anything from a week to 15 years old. Indeed, I ought to attach an image of the six year old me to a collection of ‘earliest memories.’

I have a couple of existences in Second Life too, though I’ve yet to run with these.

Would I not get more confused over where reality ends?

If it is becoming less easy to distinguish reality from the virtual, how are we supposed to differentiate between learning and e-learning? Is it not the case that both could be going on … but a student, or the students are doing no learning in either situation? That they are elsewhere? That they are not engaged? Yet hours later, consciously or otherwise, a recollection of a ‘lesson’ may produce a learning moment, may generate ‘stuff’ a learning object in that person’s consciousness?

 

The best form of ‘cognitive housekeeping’ is to sleep on it.

So I blogged three months ago when considering the merits and demerits of keeping a learning journal and reflective writing.

It transpires that sleep really does sort the ‘memory wheat from the chaff’ according to a report in the Journal of Neuroscience, DOI, 10,1,1523.jneuorsci.3575-10.2011) referred to in the current New Scientist. This Week. 5 FEB 2011.

‘It turns out that during sleep the brain specifically preserves nuggets of thought it previously tagged as important.’ Ferris Jabr says.

I have always used sleep to reflect on ideas.

If I expect or wish to actively dwell on something I will go to sleep with the final thought on my mind, a pen and pad of paper by my side. Cat naps are good for this too. I will position myself with pillows and a book, or article and drift off as I finish. Waking up ten or twenty minutes later I glance straight back at the page and will feel a greater connection with it.

I wonder if there is commercial value in working from home and doing so up ’til the point you need to fall asleep? It’s how my wife works when she is compiling a hefty report. It’s how I work when I have an assignment, or a script to deliver … or a production to complete. The work never stops and it doesn’t stop me sleeping.

Going back to tagging.

How does the mind do this? In curious ways. We all know how a memory can be tagged with a smell or a sound. For me how mothballs remind me of my Granny’s cupboard (an image of it immediately in my mind). A Kenwood blender will always remind me of my mother ginger biscuits to put on the base of a cheesecake. And a sherbert dip the Caravan Shop, Beadnell, Northumberland. Often when a random recollection enters my consciousness I try to think what has triggered it: the way the light falls on a tree, the exhaust from a car or even a slight discomfort in my stomach. It is random. Indeed, is a random thought not impossible?

There has to be a trigger, surely?

Can any of these be used?

Perhaps I could categorise content here, or in an eportfolio by taste. So chocolate digestive biscuits might be used to recall anecdotes. Toothpaste might be used to recall statistics. Varieties of Bassett’s Liquorice Allsorts might be associated with people I have got to know (a bit) during the MAODE.

The mind boggles; or at least mine does.

Colour and images (Still or moving) is as much as we can do so far.

I’m intrigued by memory games. I like the journey around a familiar setting where you place objects you need to remember in familiar places so that you can recall a list of things. Here the tag is somewhere familiar juxtaposed with the fresh information.

Are there better ways to tag?

Look at my ridiculously long list of tags here. Am I being obtuse? When I think of a tag do I come up with a word I’ve not yet used? How conducive is that to recalling this entry, or grouping similar entries to do the job?

I like the way some blogs (WordPress/EduBlogs) prompt you to use a tag you’ve applied before; it offers some order to it all. I long ago lost track of the 17000 entries in my blog. Would I want to categorise them all anyhow? I think I managed 37. I prefer the ‘enter@random’ button I installed.

Going back to this idea of tagging by taste/smell, might a word (the category) be given division by taste/smell, texture and colour? How though would such categories work in a digital form? Am all I doing here recreating a person’s shed, stuff shoved under their bed or stacked in a garage, or put in a trunk or tuck box in the attic?

In the test reported in the Neuroscientist those who went to bed in the knowledge that they would be tested on the information they had looked at that day had a 12% better recall.

See.

Testing works.

It doesn’t happen in MAODE, if at all. When are we put on the spot? When are we expected ever to playback a definition under ‘duress’?

‘There is an active memory process during sleep that selects certain memories and puts them in long-term storage.’

Like an e-portfolio?

Is the amount of sleep I’ve had, the 350 or so nights since I started the MAODE … part of the learning environment required?

REFERENCE

Sleep Selectively Enhances Memory Expected to Be of Future Relevance
Wilhelm et al. J. Neurosci..2011; 31: 1563-1569

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