The value of accuracy and quantity as memory measures is assessed. It is argued that (1) accuracy does not measure correspondence (monitoring) because it ignores omissions and correct rejections, (2) quantity is confounded with monitoring in recall, and (3) in recognition, if targets and foils are unequal, both measures, even together, still ignore correct rejections.

Zusammenfassung Seit der Entdeckung des Gilgamesch-Epos am Ende des 19. Jahrhunderts wird von der Forschung angenommen, dass dieses Epos den Inhalt der homerischen Epen beeinflusst habe. Der Beitrag legt dar, wann und auf welchem Wege der kulturelle Transfer zwischen Mesopotamien und Griechenland stattgefunden haben kann. Ferner werden mehrere Passagen aus den homerischen Epen diskutiert, in denen die Forschung eine Beeinflussung durch das Gilgamesch-Epos erkennen möchte. Gezeigt wird, dass diese Ansicht zum Teil subjektiv ist und zum Teil auf veralteten Ausgaben des (...) Gilgamesch-Epos beruht. In einem Exkurs wird zuletzt eine aktuelle These zur Datierung der Ilias analysiert. (shrink)

In contrast to its aims, Koriat & Goldsmith's article vividly demonstrates(1) the complementarity of ecological and traditional approaches and (2) the difficulty of characterising the growing diversity of memory research with a single set of distinctions. Moreover, the contrast between correspondence and storehouse metaphors is important enough to stand alone without reference to an everyday/laboratory controversy, which is neither acute nor necessary.

The New World of the Organic CodesThe genetic code appeared on Earth at the origin of life, and the codes of culture arrived almost 4 billion years later, at the end of life’s history. Today it is widely assumed that these are the only codes that exist in Nature, and if this were true we would have to conclude that codes are extraordinary exceptions because they appeared only at the beginning and at the end of evolution. In reality, various other (...) organic codes have been discovered in the past few decades.In 1975, the American biochemist Gordon Tomkins published a paper entitled The Metabolic Code. Biological symbolism and the origin of intercellular communication . That was the very first announcement of a new organic code after the discovery of the genetic code, but tragically Tomkins died that very year and his new world of organic symbolism remained unexplored. Some 10 years later, Edward Trifonov started a life-long campaign in favour .. (shrink)

Koriat & Goldsmith restrict their definition of memory to “being about some past event,” which causes them to ignore the most common use of memory: everyday visual-motor tasks. New techniques make it possible to study memory in the context of these natural tasks with which memory is so tightly coupled. Memory can be more fully understood in the context of these actions.

The author argues that Michael Polanyi’s philosophy of science can be understood as an (unconscious) attempt to recapture elements of experience largely forgotten or repressed in modernity. Specifically, the author argues that Polanyi’s epistemology appears to draw on elements of oral—aural experience that have been relatively ignored by the heavily visual sensory orientation typical of modern Western societies. The author does this by first deriving the primary features of the modern objectivist conception of knowledge from Polanyi’s critique of objectivism and (...) then using the anthropological literature on the differences between oral and literate cultures to demonstrate that these same aspects of the objectivist paradigm correspond closely to typical features of literate, visual consciousness while Polanyi’s alternative formulations correspond to a more oral—aural orientation. (shrink)

Koriat & Goldsmith's distinction between encoding processes and metamnemonic decision processes is theoretically and practically important, as is their methodology for separating the two. However, their accuracy measure is a conditional statistic, subject to the unfathomable selection effects that have hindered analogous measures in the past. We also find their arguments concerning basic and applied research mostly beside the point.

This inquiry explores the terms yogakshema, sampradaya, and manodharma sangita, as well as theories and practices of improvisation and innovation in music and other fields of Hindu culture. It considers the ways Hindu traditions play out the human contradiction—that life must always combine both old and new; the ways improvising is part of the Hindu frameworks in Vedic chanting, and the performance of ragas and other cultural activities in India. Both set patterns and nuanced interpretations in literary and musical works (...) present processes which suggest models of progress and renewal in various fields of human endeavor. I am unpacking the scholar V. Raghavan’s ideas about how traditions in Indian culture can adapt creatively in time. (shrink)

Do you see now why it feels so good to be a critical mind? Why critique, this most ambiguous pharmakon, has become such a potent euphoric drug? You are always right! When naïve believers are clinging forcefully to their objects... you can turn all of those attachments into so many fetishes and humiliate all the believers by showing that it is nothing but their own projection, that you, yes you alone, can see. But as soon as naïve believers are thus (...) inflated by some belief in their own importance, in their own projective capacity, you strike them by a second uppercut and humiliate them again, this time by showing that, whatever they think, their behavior is entirely determined by the action of powerful causalities coming from objective reality they don't see, but that you, yes you, the never sleeping critic, alone can see. Isn't this fabulous? Isn't it really worth going to graduate school to study critique? (shrink)

In this article I continue reading oral traditional poetry from a cognitive perspective. This time I use findings obtained empirically from my previous research on the living short improvisational poetic genre ayyu from Morocco (Gintsburg 2017, 2019a) and turn my attention to kopla zaharrak, another short oral improvisational poetic genre, which once existed in the Basque Country but is now extinct and almost forgotten. In order to better understand how this genre once functioned, I first apply to it the notions (...) of frames, or topics or themes, and scripts, or possible scenarios manifested at least partly in form of formulaic language, which are triggered by them. The analysis reveals that on the cognitive level kopla zaharrak offer a structure similar to the ayyu, where the first two lines work as a frame and the last two lines as a script. In the second part of my research, I compare examples of kopla zaharrak and ayyus and conclude that, despite obvious cultural and linguistic differences, the way both traditions make use of images of the natural world and connect them to human situations has demonstrable similarities. (shrink)

Type-scenes have been studied and analysed for over seventy years. This paper presents a more detailed analysis of one type-scene, the 'recognition scene', than has previously been attempted, with the aim of moving towards a better-structured understanding of the 'syntax' of type-scenes generally. The structure of the recognition scene is dissected into motifs and 'moves', all of which are tabulated; this is the core of the analysis. The ensuing points of clarification elaborate on the definitions and assumptions built into the (...) analysis. Following this is an assessment of the 'syntax' and quantifiable elements of the recognition scene. The discussion closes with a general assessment of the more literary face of recognition scenes, discussing them in the context of the plan of the second half of the Odyssey. (shrink)

As museums begin to revisit their definition of ‘‘expert’’ in light of theories about the local character of knowledge, questions emerge about how museums can reconsider their documentation of knowledge about objects. How can a museum present different and possibly conflicting perspectives in such a way that the tension between them is preserved? This article expands upon a collaborative research project between the Museum of Anthropology and Archaeology at Cambridge University, University of California, Los Angeles, and the A:shiwi A:wan Museum (...) and Heritage Center to compare descriptions of museum objects by multiple expert communities. We found that narratives and objects in use are key omissions in traditional museum documentation, offering us several possibilities to expand our concept of digital objects. Digital objects will allow members of indigenous source communities to contribute descriptive information about objects to support local cultural revitalization efforts and also to influence how objects are represented in distant cultural institutions. (shrink)

In a recent article Margalit Finkelberg raises the question of whether or not the phrase κλοσ π;θιτον at Iliad 9.413 is indeed a Homeric formula: λετο μν μοι νóατοσ, τρ κλοσ π;θιτον σται Her purpose is to ‘test the antiquity of κλοσ π;θιτον on the internal grounds of Homeric diction’ .1 Proposing to use specifically the analytic techniques of oral theory, she argues that this phrase does not represent a survival from an Indo-European heroic poetry, as has been suggested from (...) the occurrence of its exact cognate, śápos;rdvas áksitam, in Vedic poetry. To this end Finkelberg presents a precise and carefully organized argument. I briefly summarize its two branches as follows: It is the formulae that comprise the oldest stratum of Homeric diction, and so it is here that one would find survivals of Indo-European poetic diction. κλοσ π;θιτον σται , however, cannot be judged a Homeric formula by the criterion of repetition since it is a unique phrase in Homer. Nor can it be judged a formula by the ‘functional’ criterion since the better attested κλοσ οὒ ποτ óλεται expresses the same essential idea in the same metrical shape. A unique phrase such as that in question might nonetheless be ancient. The development of the use of π;θιτοσ, first to modify concrete nouns, and only later with abstracts, however, would indicate that its use with κλοσ is late. The demonstration that κλοσ θιτον σται is a ‘formulaic expression’, moreover, argues that it was coined for this specific context in Iliad 9 by analogy with other Homeric formulae, and so does not preserve an Indo-European formula. (shrink)

In a recent article Margalit Finkelberg raises the question of whether or not the phrase κλοσ π;θιτον at Iliad 9.413 is indeed a Homeric formula: λετο μν μοι νóατοσ, τρ κλοσ π;θιτον σται Her purpose is to ‘test the antiquity of κλοσ π;θιτον on the internal grounds of Homeric diction’.1 Proposing to use specifically the analytic techniques of oral theory, she argues that this phrase does not represent a survival from an Indo-European heroic poetry, as has been suggested from the (...) occurrence of its exact cognate, śápos;rdvas áksitam, in Vedic poetry. To this end Finkelberg presents a precise and carefully organized argument. I briefly summarize its two branches as follows: It is the formulae that comprise the oldest stratum of Homeric diction, and so it is here that one would find survivals of Indo-European poetic diction. κλοσ π;θιτον σται, however, cannot be judged a Homeric formula by the criterion of repetition since it is a unique phrase in Homer. Nor can it be judged a formula by the ‘functional’ criterion since the better attested κλοσ οὒ ποτ óλεται expresses the same essential idea in the same metrical shape. A unique phrase such as that in question might nonetheless be ancient. The development of the use of π;θιτοσ, first to modify concrete nouns, and only later with abstracts, however, would indicate that its use with κλοσ is late. The demonstration that κλοσ θιτον σται is a ‘formulaic expression’, moreover, argues that it was coined for this specific context in Iliad 9 by analogy with other Homeric formulae, and so does not preserve an Indo-European formula. (shrink)

This paper investigates the origins of the Oral Theory as formulated by Milman Parry in Paris during the late 1920s by reexamining the scholarship on which it rests. Parry's Oral Theory compared the texts of oral performances in Yugoslavia with the Homeric texts in order to shed light on the presumed oral origins of the latter. His work integrated the work of the linguist and Indo-Europeanist Antoine Meillet, the linguist and scholar of oral poetics Matthias Murko, and the anthropologists Lucien (...) Lévy-Bruhl and Marcel Jousse. (shrink)

Koriat and Goldsmith clearly show the need for an alternative to the storehouse metaphor; however, the alternative metaphor they choose – the correspondence metaphor – is problematic. A more suitable one is the capacity metaphor.

Koriat & Goldsmith raise important questions about memory, but there is need for caution: first, if we define accuracy by output measures, there is a danger that a perfectly accurate memory can be nearly useless. Second, when we focus on correspondence, there is a danger that syntactic correspondence will be mistaken for historical truth.

Quantitative losses of memory content imply replicative processing; correspondence losses imply reconstructive processing. Research should focus on the relationship between these processes by obtaining accuracy- and quantity-based indicators of memory within the same framework. This approach will also yield information about the effects of task and individual-difference variables on loss and distortion, as well as the time course of each process.