From memory balls to tree-net k-machine?

The differences between memory balls and k-machine.

Remembering something is not the simple play-back of ‘recorded event’.

How can a tree-net k-machine building model be used to model our thinking and learning? 

如何构造一个关于脑空间的虚拟类比模型？

电影头脑特工队将Riley 的脑空间进行划分。想象空间与抽象空间作为两个独立的院子存在。

如果在一个问答社区去问这个问题：如何将人的记忆，就我们现在所猜测及部分验证的知识，来构造一个基于类比的虚拟的想象模型?

这个想象的模型可以更好地去用图解来表达一些规律？

Answer： 我的回答可以融入我的部分的思考。

为什么一个树网状的认知机器可以更形象地来图解一些关于思维及学习的规律。

Learning how to learn

To what degree, it is about knowing some knowledge, can this one become as systematically as self-regulation, as learning-design by learners.

Learning-design expertise are developed not only by knowing how, but also by actually apply the patterns/knowledge/skills in one’s learning-journey, overtime, try and find the appropriate strategies, and appraise the use of the strategies.

Overtime, the confidence and satisfaction are acquired, these skills become automated, in a learner’s tree-net gardens, there are many trees blossom, bear fruits; in other words, the same strategy can be used creatively in different situations.

The learner truly become the expert after much experience of explicitly experiment on using the strategies. Learning is an systematic engineer process, rather than only knowing some how, without necessarily commit in using these strategies. And like any engineering process, a process needs to be guaranteed by many external and internal factors.

Memory palace as the linear procedure

The to be remembered set of things might be non-linear. There are always ways to project the SET into the walking-or-running memory trace base.

The world competition on memory might be based on the non-meaningful stuff in one’s daily life or work. What about in a person’s real life, more often, the memory trace bases are based on meaningful events, similar events keep on repeating.

Talking about the TV shows on the brain, the super-brain, the smartest person in Canada, what is the meaning for each type of competition, what is the relevance of these abilities/capabilities to one’s daily life? Sensory discrimination: visuals, colors, face, costume, similar patterns. Encoding techniques: to the memory-trace-base, to the images.

Navigating in 3-worlds

A person navigates in a complicated 3-worlds every day. Each navigation is a journey, an experience, doing along a route, working with a procedure.

In SmartArt, the procedure/process shows this working logic. The flow-chart shows directly, and also considers the multiple-routes to consider. No matter how complicated a system is, one person/entity each time, along the TIME frame to navigate/experience/interact in the system. A movie is presented in a time-linear format, for an audience, this is a time-linear experience/journey.

In learning design, the linear-experience is in the ADDIER model. The Linear-experience does not conflict the complicated, sometimes recursive processes. In the sub-procedure, the linear process is needed. No matter how complicated one’s daily life might be, it is filled with tons of linear procedures/processes.

All fields involving the ways of thinking need the new SIGN-system

Learning science is not the only field which will benefit from having a SIGN-system that enable communicators to build the physical models in their minds.

The abstractness exist everywhere, so long as the concreteness/visualization fail to be built, there will be great obstacles for people to use the patterns, or even find the new patterns in the field. Basically, all humane science, or even the engineer worlds need to represent how people think, learn, communicate, or even innovate in a more visualized way.

The mass-media fields have always tried to find better ways: the Japanese Cartoons use the thinking cloud, and years later, the TV dramas might adopt the thinking clouds too. The radio talk shows can effectively say it aloud how a person thinks; then years later, the narrator’s way become popular in TV dramas, like in the Grey’s anatomy, like in the movie of ‘Life of Pi’. Even in the short-drama, people are creative in creating all the background settings, the setting objects, or those non-humane objects with using the real persons. Not mentioning the digital technology in simulation.

What theories support the creating the physical models?

Using the name directly, to search Driscoll’s book, this word appears in Chapter of Mental models. Using physical model is an effective way to build mental models(or sometimes it is called phenomena, ?? Other names, a simplified model of the real system).

It remains to see how different physical models play a role in different fields, a lot more research are needed for finding out. The most familiar physical models for us are the planet-models, the earth, the moon, the space-ship-looking-out simulations. The other one is the: animating a cell, in the TED talks.

In the same chapter, reasoning with analogy was mentioned. Many physical models are built with integrating metaphors/analogies, especially when no direct physical features can be seen directly, can be proved directly. Then, seeing the sign activity along human’s history (semiotics), how the first written language look like, and how a kid learns language from the birth, how a novice learn in a new field(Bruner’s multiple mode) .

Vygotsky’s internalization of the languages. Multiple-mode of memory. Gagne’s learning outcome hierarchy: the discrimination based on sensory input, and then concrete concept, then defined concept, and then rule, and complicated rule. All later stuff based the initial sensory inputs, the creating of the sensory discrimination.

Again back to the ways that people acquire the sensory discrimination, either there are direct ways to get them, or tools/methods are needed to get them.

For some, the X-ray, the telescope, the microscope, or other visualization tools can help, and can make it. For others, even these tools are not enough to see the truth, the elephant, metaphors/analogies have to be used to create the physical models that provide us the sensor discrimination. Making sense of = understanding, understanding must rely on the creating sensory-info, the physical features behind the knowledge. Otherwise, the reasoning/understanding stays on the superficial level.

Show some brain-activity

Since the movie is about the setting inside the head, the movie-makers try to integrate into some mind-functions, such as the imaginary land, the multiple-mode of signs etc. The emotions are personalization, and tailored to the 5 ones.

With all the worries of movie producers, it is understood by kids more easily than what are expected. There has been a long history for the industry to make movies about the other space, the outer space, the other planets, or even all the Alice in Wonderlands, the Middle earth world, wizard’s world etc.

All these are not necessarily truly reflect what the other worlds really look like, but it did not affect the movie makers’ imaginations, to show all the physical existences of these worlds, how do they look like.

Maybe the difficult parts are to rotate between the outer-realistic setting and the brain-settings. But no matter what, a dentist or a neurologist does the operations with the aid of the technology to partially detect the internal situations, to make decisions.

Starting from learners, actually for each consumer of those models

Although the proposed models seem start from learners as I emphasize learning design by learners, actually these are the important models for each role-player in the learning-world.

Tracing back, a teacher/designer was a learner in the first place, while on the journey of becoming learning design expert (for them, the name might be teaching-designer, instructional-designer, learning-tools-designer.) They too, need the enactive mode of experiencing learning events, they need a better ways of seeing the internal learning activities.

What are the feasible and valid ways to build these models?

Using analogies, to project the abstract stuff to concrete stuff.

To play a step further, transform/translate the analogical terms into the physical models, for example, the net, the weaving, the tree-structure, the machine-operating, the creating of the play.

During the process, different name can represent same things/similar things, so we need to figure out what operations are need to get the whole-elephant.

An article about ontology in education implore the fact that, compared to the field of physics, how the field of education are in kind of mess in terms of the ontology.

The result? Mis-communication, in-effectiveness of educating novices in the fields, after dozens of years of research findings, in-effective practice stays the same. In other words, these patterns/theories failed to be in the expression: easy to understand, easy to learn, easy to apply etc.

Is it desirable to have a physical models for the internal learning activity?

It must be desirable, but definitely not realistic. Only a compromise solution can be found, using the imagined, hypothetical model. Otherwise, people either have their own ambiguous models, abstract models, or no models, no senses of these models.

Eventually, we rely on the ‘schemes/mental models’ guide our learning behavior, make sense of the world of learning: the events of learning, the outcome of learning, the success/failure of learning, the emotional effects of all learning. So, the answer would be: YES, we need a physical models on learning.

The memory balls

So, while Joy and Sadness were struggling to find some memory balls. In a thematic world, these balls might not in the non-tag shelf. More likely, there are on some tree-nets, like a Christmas ball hung on a Christmas tree.

Or maybe a memory ball is a node-ball, which can be activated with a switch.

There are the episodic memory and the thematic memory; there might be the differences, but in some ways, they are connected. The tree-net parks need the examples/cases/situations. Examples might be temped by the schemes.

What does a memory look like?

The story team asked experts the question, and get the answer: we really don’t know. With current technology, we might have no ways to know the 真面目.

However, it will not prevent all the imaginations/assumptions made by people. First, it must like a huge web; think of the neural network, the association of things, shapes, words, events, concepts. Second, the web has some features like: being hierarchy, organized by theme, with multiple mode etc. People use all the verbs one might be familiar in other situations: to build, to construct, to activate, to compare, to link, to weave…

Without the direct experience of the memory, one can only make the guess. Semiotics at least give a hints: inside the memory, at certain stage, those signs have the physical shapes in our mind, the containers, storehouses, transporting channels, and ways of connecting must be similar to the semiotics world to some degree.

The building science

Are there experts from whom he might learn? Can he visualize some of the processes, so that he make better sense of what are happening. A brain-doctor operates in a patient’s brain with the visual aid of the Visualization-Tools (The mini-computer, the CT techniques etc).

A dentist use X-ray, use the tooth-opening frame, the lying chair and other Visualization-Tools to better “see” and better “operate” . A GPS helps the driver visualize and make decisions in terms of the route. Inside the movie, the impossible, the computer-monitor team acts as the eyes of the detective, to better navigate through a place.

公式： 一种职业/一类工作 对可视化工具的依赖。 源：外科医生，牙医等。 目标：学习设计师。

A guide working model

学习设计的引导规律

Inside Out 能帮助我们更好地理解自己的情绪； 我们需要某些作品能更好地帮助我们理解自己的思维和学习。

What are important things to learn by a kid, a full-time learner. A full-time designer needs to learn the science of designing. A full-time architecnician needs to learn the science of architecture. A full-time gardener needs to learn the science of gardening. Etc.

This is a function, with the variables that could be in different values. A kid learn every day; which means that he build his brain every day, build the tree-nets, the k-machines, the k-plays everyday. There are teams for almost every building, but the kid should be the most important person in this building. Does he knows about the process of building?

The setting is inside the head

场景发生在人脑中

Insert an image from the New York Times, which is used to illustrate the fact that this movie is about the: inside the head.

[Text]: the movie Inside Out shows the world inside one’s head. {Image}: brief introduction of the movie.

[Text]: The director aims to help us visualize and understand how our internal emotions affect our life. {the interview of the director}

导演的目的是帮助我们看见发生在人脑中的故事，有对导演的采访

The meanings

意义

To understand the emotional change through personalization of one’s own feelings. Personal experiences: Doctor’s own, his daughter’s, and all the story-writers parental experiences. Taking years in working out the stories. Breakthrough points in the difficult times. Worries about the possible complicated concept for kids. The setting is in one’s head.

通过拟人化的手法更好地理解人的情绪。 制作电影过程中，及观众的故事：导演本人的情绪变化，他女儿的情绪变化，一个自闭症孩子父母的来信

Why interpret this movie?

为什么解读这个电影？

To better understand one's own brain, and then behave accordingly,

为什么我想要来解读这 部电影，从分析的角度来判断，帮助女儿理解这部电影的背景， 更好地理解 这种情绪，知道这个情绪可能给她自己或者其他人 的影响，理解别人的情绪，知道如何在不同的情绪环境中应对。

一方面 是解读，另一方面更是 想如何借鉴，如何创造一个我认为可能更符合 一些 认知科学规律的想象的脑城的物理模型，将不同的结构的东西融入其中 ，将这个知识网的概念 体现出来，将这个文字和图形 符号在脑中建立了容器，形成了容器网，然后不同的容器网如何形成了脑城中的一个有用的Artifact, 一个道具，一个角色，然后，当思想流与情感流在其中流动时，当思想流形成这些道具与背景，每一次的应用对这些发生改变时，这个看得见，摸得到的虚拟的世界。同时，最为关键的是：将外部能表现出来的，能直接观察到的戏，与人脑内的活动发生接口。

在 inside out, 发生的事件轴是以双螺旋的方式呈现，剧本的难度之一在此。而我想设置的双窗口体现了这个重要的点，如果让这些信号进入脑内的过程，在脑内发生的变化呈现出来。脑内的布景是什么样的？我的树网园的概念重现：一个概念的树网，针对一个 概念形成，改变，应用， 与其它概念树网 结合的过程，每个过程发生时，在脑城内发生的戏，能看得见，摸得到的戏，能与我们每个人熟知的外部物理世界能挂上钩戏，让我们对 这些戏的发生 make sense。

(小说改编成电影，文字的想象转换成影像的发生，对我们自己的想象的一个重要的扩充：西游记，动画片，)为什么 make sense 有其重要的意义？

有意义的知识树的根，一切 抽象的知识有具象的物理世界与其相对应。脑子里想像的任何一个概念：有其具象根，有其抽象符号（Bruner; educational semiotics， 甚至 Gagne ' outcome 对此的论证）。Metaphor/analogy 帮助人理解一些抽象的东西。

Inside out: some ideas

• 在一个界面中，列出这个电影体现的方法与传统的方法。比较其两者之间的区别。 新方法在具象的图符层和行动层上建立起来具象的戏，帮助观众理解了情绪对人的影响的规律。
• 虽然这个新建起来的层是想象的；但是，并不影响对规律中能确认的地方。
• 我女儿跟我说：Joy 这些情绪小人中也会有其他情绪小人，她学会递归了：）

【关键点】：引入Inside Out 这个电影的目的是：论证类比虚拟模型的有效性。

Inside Out is a movie..到此一游： 到Riley 的脑城中一游，情绪小人本来就生活在其中，Riley 几乎到此一游。现代剧的跨时空的到此一游， 为了让某地方，某空间，某事件能被人到此一游，这些场景、物、或事需要呈现在到此一游到主人公视野范围内，更好的情形是：不仅在视野范围之内，更能激活其他的触觉，并且能够做某种动作。

与苏比项目的关系：用表格来对比，包含Inside Out 所受的启发，抽象出的规律，想要引申到苏比的故事中。

将几个相关文章中的段落引入，包括影评，包括专家团队的解读。
几个点

1. 改变了人们对情绪的认识
2. 受到各类观众的欢迎：不论年龄，不论对情绪的认知水平（有影评与专家评论为证），引申到对我想要解决的问题的启发，及支撑强化了我的想法。
3. 心理学教授：教自己的学生，让更多的人理解这些的区别。（将这个问题引申到我要谈及的专业，将问题换一个角度来看：即使是专业的学生也需要这样具象，有想象力的认知为基础）
4. 用的是虚拟的模型，运用了部分的、简化过的已知规律，和部分想象的规律，#将情绪拟人化 （初步简要的论证，这些方法的有效性，需要进一步的理论论证）
5. 脑内与外部发生的戏平行化，同时看清两个世界的变化，理解内外的相互影响与作用
6. 评价对关于记忆与思维模型的表达：有哪些启发，哪些可以做得更好？如果是我来设计这个人脑内的世界，我希望能融入哪些规律？用到哪些虚拟的类比模型？

Inside, outside, inside out; 这些是关于空间的里与外。 脑城的内与外，对学习与思维（navigate, 游览，经历）最困难的部分是对 Inside 的看不见。

能看见脑城内部发生的事成为了解决问题的关键： 我想这也许成为了这部电影被称为 Inside Out 的关键。

整个（情绪感受，想，做）的戏有重要的一部分在 Inside, 完整地经历这类事件，需要借助于对 Inside 的某种“经历”。

电影 Inside Out 用的是艺术手法，只是融入一小部分科学道理于其中，但是这并不妨碍帮助人们对情绪之戏有了更好的理解。

Inside out: contents

Contents
    1 Why interpret this movie? 为什么解读这个电影？
    2 The meanings 意义
    3 The setting is inside the head 场景发生在人脑中
    4 A guide working model 学习设计的引导规律
    5 The building science
    6 What does a memory look like?
    7 The memory balls
    8 Is it desirable to have a physical models for the internal learning activity?
    9 What are the feasible and valid ways to build these models?
    10 Starting from learners, actually for each consumer of those models
    11 Show some brain-activity
    12 What theories support the creating the physical models?
    13 All fields involving the ways of thinking need the new SIGN-system
    14 Navigating in 3-worlds
    15 Memory palace as the linear procedure
    16 Learning how to learn