How I was looking for a Method for memorizing new words. Draft. Part 1
As a child, I was silent. This is probably why I had many friends.
For many years I have been saving "my stories". But I didn’t know how to express my thoughts coherently enough. This is probably why I studied to be a teacher for a long time.
Without becoming a teacher, I realized that my stories are not interesting to anyone. Everyone loves to tell their own. And I have fewer friends.
Therefore, I chose the path of creating small useful techniques. And I spent a lot of time on it. Then it turned out that this invention, which I considered mine, is called a "live hack".
What is in front of you reminds the story of my life. All stories are quite "silent", they resemble a draft of future teachers' lectures and, finally, contain a small valuable methodology.
注 ： テ キ ス ト は 、 電子 翻 訳 を 使用 し て 英語 に 非常 に よ く 翻 訳 で き ま す。
How I was looking for a Method of memorizing new words.
I was looking for my own technique trying to study (not thoroughly) the following known techniques and methods.
1. Method of mnemonics. Let me remind you that this method involves working with memory through imagination. The method is based on the fact that memorization is possible for 5-10 words at a time - this is a property of memory. But the trick is that it can be 5-10 words, or it can be 5-10 blocks of words. Well, then comes the block formation method. I use my own method of forming blocks.
2. Methods of memorization through recognition.
3. Some of the speed reading methods.
So, my observations. First, what are 5-10 words? From my point of view, it looks like this: the first three words are memorized clearly, the next three - less clearly, and the next three - with difficulty, but memorized.
Move on. In threes, I believe, the same principle works: the first word is remembered better, the second worse, the third with tension. And then, 5-10 words in one day are memorized by a person with an already trained memory. And the usual one? In my practice, memorizing just one new word takes a whole day. So we are talking about memorization through images? Well, yes, in my practice the image is remembered well, but the word "tied" to the image is erased.
Therefore, I suggest forming only one connection at a time. But with the change of "scenery". I consider it important to specify this. In mnemonics, it is proposed to use familiar rooms. Excellent! When you enter a room, what do you first notice? Here we apply the principle of space 45. Next, I start forming blocks. One word - one "bookmark" (or "binding" to an already existing object). That is, the technique is reduced to simple reading. I read new words, for each word an image appears, the image is attached to the object. Everything is like in mnemonics, but each time the subject changes.
I think it is also important in the process of "laying" blocks to avoid tension in the head, which happens when a person "tries" to remember (strains the muscles of the face, makes a "focused" face). In this case, the muscles of the neck can be strained, the blood flows to the brain worse, and the process of the formation of images deteriorates accordingly. It seems that it is necessary to remove the supertask of "memorization" from this technique altogether. Turn into a game? But the imposed game can quickly get boring. Walk up to the children and happily tell them, "Let's play!" Well, they run very quickly. I have found my own way to clothe the process of working with blocks in an attractive occupation for me personally.
Following. How do I lay blocks? But what if you FIND blocks ALREADY lying in their places? Then the technique of memorization through recognition will start working here. That is, remember, and not read for the first time.
Plus, take into account the "category" of memorized words. Category is my working name for a group of words (DEFINITELY, BY ME) united by a certain basis. For example, a spoon, a ball, a shirt, a float, mushrooms, berries, apples, bones, muscles - this is (WITH ME) the "Matter" category. Anger, joy, existence, euphoria, dreaminess, stupor, diarrhea, migraine, thunderstorm, rain, politics - "Definitions". And one more category is "Actions". That is, it is better for me to put the memorized words in a "heap".
How can this work theoretically? First, you just need to look at the text, at the page with the text, without reading. Relaxed, paying attention to the relaxation of the neck muscles and the condition of the head. Relax your facial muscles. This is the key to the technique.
To achieve that the sound of the text goes away in the head (subvocalization). Relax the muscles of the eyes, avoid "running" the gaze along the lines. The "defocusing" of the gaze helps, when the eyes seem to see the entire page without highlighting parts. It actually looks like a speed reading technique, but I applied it here.
The biggest obstacle to mastering this method is boredom. Memorization - alas - takes time. In order to avoid boredom, I first engage in such an exciting and non-annoying activity as presenting fascinating pictures from a probable life (to taste).
I realized that it is better when the characters of the paintings are abstract (they have no analogues in real life). I thought it would help you learn to see the image of a book page "in your head." The same can be done in the intervals between the "contemplation" of the page. Here is a slip of the tongue, which can grow into a technique or / and be a good help in mastering memorization: seeing, contemplation are figures of speech, in fact, the page “is” in the head and that's it.
There is a page in my head, but it's hard to read. Why? Maybe there is an image in the memory, but there is no "scoring" of the text. So that the page could be mentally read, I tried to fill it with sound. Here I made a reservation for myself that it is important to understand: the page that can be seen and the page that can be heard are two different pages. This understanding will probably come gradually. And maybe it will help improve the process.
Then I realized why I was a bad student in high school: having studied the printed text, I could not then reproduce it aloud, because I was trying to mentally see what I had read.
For voice acting we will use my personal "author's" :) method. The inner voice is "formed" with the participation of the left brain hemisphere. To sound our page in memory with an inner voice seemed to me a slow process. While working on perfecting the process, I accidentally discovered a way to get away from subvocalization through articulation. This is a special type of articulation - in one language. At the same time, the air rustles slightly on the lips, sounds are not heard, but this was quite enough to activate the right hemisphere of the brain.
Now the page dubbing has gone more fun. But not fast ... It went faster when I applied a method from the same reading speed known as "text noise". I deliberately tried to make the text of the page hanging in my head artificially unreadable (Let me remind you that earlier I tried to read this text hard.). The process became exciting, but it was still slow, that is, memorization proceeded at about the same speed as if I memorized words with my previous "imperfect" methods.
And then he accidentally left the veranda, heard a buzz, turned his head looking for the intruder. And I understood why sound and picture are difficult to combine.
Because the scheme of perception in nature is as follows: first by ear, then by sight. Then comes another important point - action.
So, "I heard - I saw - I act." If we organize the memorization of our page according to this scheme, then things should get better.
Let me remind you of my mistaken way of teaching at school: having studied the printed text with "eyes", I then tried to mentally "see" what I had read and then reproduce this text with sound.
What if the right way is to read the text first? As a first step. Out loud, with articulation.
My second mistake was trying to "see" the text I read, or rather to mentally present it. It is this mental image that generates tension in the muscles of the face and neck, which impairs cerebral blood supply and leads to the opposite effect. Especially if you are trying to read the text of the page that you "imagine".
Where is the exit? What if space 45 helps?
The strongest muscle tension occurs when I "look" directly at the text. It is necessary to move your gaze from the line a little higher, in the interval between the lines, and the tension decreases slightly, and the "readability" does not disappear.
Another. When I look at the text, what do I see? Small letters. To see them, I strain. How? I try to get smaller. To measure your size with the size of the letters.
How so? Try to examine objects in the room and notice that while looking at them you are making mental efforts to mentally "adjust" your size to the size of these objects. Choose the most comfortable subject for consideration. This is most likely an object about your height, but most likely a little taller. A treatise on this topic can be written here, with examples and proofs. But our topic is different.
Why is the page with the test presented so tensely (see my "delights" above)?
Because the process of reading is already tiresome because of the size of the letters, and then there is a mental representation ... What is the next step towards memorization after the first step (articulating what was read)?
Well, yes, represent the letters in larger sizes. How much? Raise your eyes 45 degrees - you will see the upper edge of the letter. This is the most comfortable size, causing relaxation of the muscles of the neck and face, which, in fact, I was looking for. It remains to find the optimal distance to the letters. It's about ... well, guess yourself. Plus, you can figure out what to do with the "width".
The method of enlarging letters helps, among other things, to "deconcentrate" the gaze.
Deconcentration of gaze is a useful exercise, since we have already understood that in Nature, gaze concentration is a signal (to oneself) to attack with a corresponding mobilization of the body's reserves. Let's remember "sound-look-action".
What size letters do you need? The letter can be expanded to the margin formed by looking at 45 degrees left-right-up-down. Why? Determine the approximate size of the letter, after which the image will start to blur. That is, the desired "deconcentration" will happen.
So this is a "representation" of a letter, not a written letter? Well, yes, it is better to "deconcentrate" the "inner" gaze.
And so my research stalled as the tension persisted.
Then the sky above my house cleared, the sun came out and I figured out how to achieve deconcentration.
Distance is not important, but location. What is the probability of a predator attack, depending on the direction of the view? Which sector do we least control? Where to look so that I relax internally and do not intently examine the contours of a possible predator?
Clear clear sky overhead? There are no large predators and no easy prey. Especially at night when the eagles are sleeping.
But then I was disappointed - there was no deconcentration. Neither the black sky nor the starry sky helped ... A stubborn gaze was always looking for something there ...
What did I miss? Are there distances in the interior space? Maybe my mistake is that I try on the standards of the physical world to another dimension? And what is there, in another dimension? Maybe feelings?
Well, let's try, based on the experience of research. Where are we here, relaxed and safe?
Or maybe the other way around? Dangerously? So dangerous that the glance will save you and finally relax?
What is the most dangerous and irresistible? I didn’t think long. Perhaps this is an open deep sea at night. So dangerous and insurmountable that I even refuse to think about what is there, in the depths ... not to mention to look ...
And even without a boat, an inflatable mattress - right in the water. Soaring over a dark abyss ...
Something is groping ...
Let's digress a little. During the experiments, I noticed that in the process of "presenting" the text, if you add sound, the picture gets blurred, changes, and disappears. That is, the presence of sound and text at the same time is difficult. On this basis, my system "first sound - then text" was started.
This raises a question. What else do we have besides "heard and seen"? Can you feel the text, mentally, of course? Then I remembered how I liked the moments in school when ink or paint formed "thickness", that is, rose above the paper, if you press harder on the pen or on the brush.
And how nice it is to see how the strokes of paint in the picture, which "rise" above the plane of the canvas. I want to slide my finger to feel the volume of paint strokes.
Why not? And mentally I reached out and felt the text. And what has no one tried? Feel the letters. At least carved out of wood, foam or plastic? For sure. And the sensations most likely remained.
And if you smell it? Bukovki. Dogs are said to have a good memory for smells.
What else? What is special about a person? What's the key to memory? In dogs, the key to memory for smells. The birds probably have sounds - shebet, singing? Or for birds - for movement - well, gestures there, the position of the wings?
Perhaps we, people, feel well the contours, shape, volume ...
And the taste? Because of this, we have such gastronomic claims, taste delights?
Imagination, say? But imagination is more of a tool, a space for modeling the same smell, tastes, tactile sensations, observation.
That is, the path to memory lies through imagination? But you also need a key to memory.
Let me remind you that the performance, the vision did not suit me - there is tension in the muscles of the neck and face.
What else? What can you do with the text to remember it? In addition to what has already been tested, touch, smell, taste.
Weigh? Determine how each letter pushes through the gravitational network?
Run text along the timeline? Tell yourself: "I've already learned it." Or "I haven't seen him yet."
Determine the structure of the letter? What does it consist of? What elementary particles? The point is not a particle or a "micro-blot". Or ... a ball? ..
And here it became interesting! Balls ... Atoms, electrons also draw with balls ... Not for nothing ... It excites the imagination well.
Well, let's say the letters are made of balls (paint?) Stuck together in a certain order. Or suppose a letter is a ball that has spread out into such a shape - we will apply a spread in time.
Or a word is a former ball that has taken the form of a word. There were such typewriters with a matrix-ball.
Then the presentation process turns into an exciting ball transformation game. We look at the ball - and it takes the form of a word. That is, it is such a universal image, the prototype of words. Preview
But really, how do we remember? Not "What" but "How"?
Mnemonics offers work with blocks. Find a place to store blocks. Determine the binding of blocks to objects. Why is a ball not a block? And why the ball is not the place? And what is not an object?
And then, the ball can have taste, smell, color, weight, size. And the form ... That is, it is the preform of all forms, the potency of the form. The ball can transform into any image of the imagination. Rather, it can initially contain all images. A way of memorizing as remembering already known will work here.
Well, when you look at the ball, your vision will defocus, as your gaze begins (mentally) to bend around the ball. That is, if you want to relax your neck muscles - imagine a ball.
But let's leave the ball for now. As a fallback technique.
Perhaps the most effective way to "relax" - that is, to distract from the "picture" in front of the inner "gaze" - is ... sound. As already noted, but in a slightly different context. The sound of your own "inner" voice. The picture disappears from the sound as if by magic. That is, the image appears, but disappears when the sound is "turned on" and does not want to "get attached" ... Perhaps that is why the way of memorizing "image-sound" turned out to be ineffective?
However, like the "sound-image" path. Although there is a nuance here. Does something "sound"? It is ineffective to pull out a picture "on sound" that you want to remember. Muscle tension arises. But, if there is a pair "unknown word - translation", an image appears corresponding to the concept being translated. What is this image? This is not a flat picture with a picture, it looks like a slice of life. Studying the images that appear, I assumed that it was from the memory that "pieces of the experienced" emerge, pictures from the seen and forgotten. And the sound here acts as an awakening factor. Apparently the picture you want to remember disappears when a sound occurs and is replaced by a scene from your personal life.
Let's take a real life example. When someone tells me an incident from his life, images appear in my head not of what he is telling, but incidents from my own personal life. And then I try to interrupt the interlocutor and tell "my" story, which, of course, seems more interesting to me. He begins to get angry, interrupt and try to keep the conversation on track.
Then it became clear why it was difficult for me to keep the image of the page. After all, you are trying to read it ... That is, to voice it. And a sound appears, then images of the experience appear in response. And the "necessary" image disappears.
So let's start all over again.
But now I have some understanding in which direction to move. Or rather, what to avoid.
And focusing and dubbing should be avoided. However, scoring is, as it were, the result of focusing. Concentrated on the letters - began to read.
Let's remember how to achieve deconcentration. Look with a sideways glance? Not readable at all.
And if you look up from the line and look into the space between the lines? And lead your eyes across the white field? It's harder to read this way ... Well, that's what I need.
So let's look at the page, focusing on the white margins. Let's then try to "see" the page image. The page has disappeared, only white fields. Well, that's what we need.
There is good news. Now you can look through the page "into the distance", because there is no space between the lines. White emptiness ...
Maybe the tension in the muscles was due to the fact that the gaze rested on the page as an obstacle? And tried to push through this barrier? Well, now the look can freely pass "through" the page.
An unusual problem arose. The glance stubbornly tried to cling to the "letter" part of the page and stubbornly did not want to "go into the distance." I realized that this is a habit developed over the years. The habit of a "restrained gaze". I constantly limit my field of view to boundaries. These are the walls of the room in which I am. On the street - by the walls of houses. I read a book - I cling to the letters.
I was in the woods yesterday. Today, analyzing the situation from the point of view of borders, I realized that in the forest my gaze was also limited, bound by trees. Although it was possible to look as if "through" the trees and then it would be possible to inspect a larger space. But this time the wolves saw me, and I didn't. I only saw the nearby trees. As in a room ... Out of habit.
So, in order to see (at least in the short term ...) the text of the page, I had to deal with "expanding the horizon". At least in the room. Learn to see, as it were, "beyond the walls." It seemed easy at first. There are windows and a door in the room - let's start by looking at the door and window. That is, at the first stage, you need to try to see the room and look out the windows and the door at the same time.
We don't forget about the page, we look sometimes ... Does the look go further into the white void? Slightly better, but the letters seem to "prick" when "touching" them. Maybe there is a subconscious analogy with a thorny bush?
Let's remember the ball technique. And place our page inside the balloon. Smooth. Letters no longer prick. Now you can really "look" at the page. That is, before the perception of a page was like an "object". And now the object is a ball and we do not feel the page "to the touch."
Can a person still have a key to memory in tactile sensations? I have noticed for a long time that in the computer I make program windows not to fill the entire screen, but to have a "gap" between the screen and the edge of the program window. It's more comfortable this way. Why? A habit from the physical world - a sense of volume? When I go in the car, I feel cramped, but when I open the window (literally a small gap), the feeling of crampedness goes away.
I'll try one more thing. Let me remember the method for determining a comfortable size. I will enlarge the text to this size. Now I'm "like" around our text. It is now a large wall with a wide aisle separating columns of text and free space between lines. I will hide like a fence. Everything is visible through slits, light, spacious and safe. Quiet...
It looks like I've found what you might call a "comfort zone". Entourage, furnishings, surroundings, etc. This is the place "behind the fence" where I can relax. This is also a similar technique that can be used in many cases, but here - for memorizing texts.
I'll try to "read" the text ... From the selected comfort zone, it turned out to be inconvenient. Since I am standing "behind" the "text". After all, the text is directed "to the street". If I go outside the fence to read "normal", I will be outside.
Or maybe this is what I was looking for? Let me remind you that my task (one of ...) is to avoid spontaneous dubbing of the text. That is, my task is to remember. If I start reading, I'll lose the picture.
I used to try to get around spontaneous reading by deconcentrating, then focusing on the white space between the lines. And if you unfold the page so that it cannot be read. Or hard to read. How? Flip 180 degrees. 90 degrees. And so remember.
But then, after memorizing the page, you still want to read. And this will become possible after memorizing, since it will turn into personal experience and will be associated with this case. And will the sound of this text arise? Maybe...
What prevents us from memorizing standing behind a fence and reading the text from the inside out? Inconvenient, but a matter of habit. Let me remind you of the main task: to relieve muscle tension.
So let's try. The process of memorization was enriched by the process of almost guessing, which made it possible to apply another memorization technique - “guessing”.
The process has slowed down due to the fact that the page is constantly floating away from the inner gaze.
So, if it's a fence, can you put it on the posts? This is how the "columns" or "page keywords" technique appeared. That is, the beginning of memorization is the first word on a line and the last. Then the bottom of the page. Just four words. In my case, these are: "1 - by", "11 - er". That is, the first word on the first line was "1", the last "by". And the first word on the last line (lucky luck) "11", the last "er". So, four words are two "columns" of my "fence".
There was a curious incident. I memorized these four words, since the capacity of the RAM was not exceeded and the time had not passed before the erasure. Then I tried to imagine the first two words already in the text on the page, standing behind my "fence". And I arranged them incorrectly: I got the word "by" first, and "1" - last. Well, I confused it with a habit. So the picture has changed - she corrected me by swapping the words.
Having calmed down the delight, drank cocoa, watched the news, that is, distracted, I returned to the experiment. I began to fill in the bottom line with those very two words. Didn't forget, however ... I filled it in. And ... I mixed it up again, again quite by accident. What was my surprise ... - the words jumped to their "correct" places. An auxiliary memorization technique "making deliberate mistakes for their subsequent correction" was born.
By the way, I didn't notice along the way, but a way was found to translate into long-term memory by converting the memorized into personal experience. It's a little higher. Well, yes, memorization techniques are based on this, but I don't remember the emphasis on such a transformation.
Well, now you can start memorizing the page. That is, fill my fence with dozens of lines. Then I began to apply the spontaneously arrived technique "I ran and ran, what if you hook is all yours." He glanced over the physically presented page - looked mentally at the fence: What has been added there? "
Another method of filling a mental page is "brick by letter". That is, one look at the page - one letter has been added.
That is, I, intuitively fearing to scare off luck, began memorizing the page in new ways. But very slowly. Carefully monitoring your well-being. One letter - and then a long break with unhurried introspection.
By the end of the day I had in my asset: "1, by", "11", er "- these are columns;" 14 "and" 15 "were added. Then" 16 "was added (I accidentally came across a numbered list - luck literally pursued me today ).
True, out of habit, I tried to memorize the letters in my old way, which can be briefly described by the words "a fruitless attempt to shove what I read into my head by paradoxical muscle tension that hardly helps the memorization process."
Then he corrected himself. I went according to the scheme "from the text - to the fence".
Of course, the question arises whether everything is too complicated and slow. The development of a scheme, an algorithm is often difficult and time-consuming, but ultimately leads to an acceleration of the process. This is clear to everyone who has ever encountered the production process.
An acquaintance of mine once worked in a team of workers who knitted nets. Small nets for potatoes. Cord thread and hand hook are used. Everything seems to be easy. Wrap the thread on the shuttle and knit. At first he had one shuttle. The winding of the thread was enough for about a third of the net. That is, to knit one net, he got up from the work table three times, approached the place where the thread hung for general use, wound the shuttle, returned and continued to knit. Plus he went out for a smoke break (he smoked) several times during his shift to the smoking area. Plus lunch followed by a short walk "in the sun" and, of course, a smoke break. He fulfilled the production rate, though "right next to". It was 7 nets per shift.
This was the first stage in mastering the process without any scheme or algorithm that would improve work and its efficiency. That is, his approach to this work resembled my original approach to memorization - "no schemes or systems."
The beginning of the second stage of his work as a "netting" was at first a slight anxiety of frequent getting up for the thread. He decided this by purchasing two more shuttles. Thus, he significantly increased the efficiency of his work. If before, in order to make one net, let me remind you, he got up three times and walked to fetch the thread, now once. Three thread shuttles - one net - stand up and stuff once. A total of seven lifts per shift, instead of 21.
Then he again reduced the climbs - increased the number of shuttles. The calculation shows that you need to have 21 shuttles to get up once. But this is rather boring - a lot of stuffing, then a lot of knitting. And experienced workers are usually limited to about 10 shuttles to get up a couple of times per shift - stretch their legs and change activities. But they have additional shuttles - the thread is not always comfortable enough for knitting and, if a good thread comes across, spare shuttles are used for stuffing "in stock".
It would seem that everything ... What else can you tell about the knitting of meshes and the effectiveness of this process?
All, but not all! Let's compare people who have mastered this stage of knitting (10 shuttles) with people who have mastered standard methods of memorization. These are persistent "good" people who know how to memorize well, but without spending their time on research, attempts to increase the effectiveness of memorization and spend their time on entertainment (smoke breaks with conversations, walks, frequent getting up to the net in the case of networms). And they are in the majority. Let me remind you that there are slovens with one shuttle or a maximum of three (who do not own any methods of memorization at all - as is the case with me).
And now the highlight on the cake! Or how to increase the efficiency of knitting nets to the maximum unthinkable at first sight.
First, the tool. Agree - an important part of the job. Correct tool fit increases productivity. And the comfort of the work process. Why not?
For example, among shoe-makers making shoes one of the main tools is lingering tongs. This tool is similar to a pair of pliers, but longer and with curved jaws. They are used to stretch the edge of the leather when working with the pulling of the shoe on the last. So ticks are different. I have come across ticks that you can work with, but it does not bring pleasure.
But there are "magic" ticks! As shoemakers say: "The tongs work by themselves!" And this is not a miracle, this is an observation.
How "magic ticks" work. The sponges of standard pliers, for some reason I do not understand, form an angle of 90 degrees with the handle, while for magic ones this angle is 45 degrees. The lips of ordinary ticks are almost straight, the lips of magic ones are curved almost in a circle. And also the lips of magic mites are short and thinner towards the edge. The edge is almost sharp enough that a little more and he would tear the skin. The malleus at the base of ticks in standard ticks is not very large and massive, in magic ticks it is large and massive. The handles of standard pliers are the same length, the handles of magic ones have different lengths. So what's the magic? Consider the design differences carefully. The master clearly wanted to achieve some kind of effect with a massive hammer, a long back handle, short jaws curved in a circle. In a circle ... The magic pincers, if you shake them in your hand, have a clear imbalance in gravity in favor of the back. If you put them on a support with a hammer, they will start to "overturn" back. We take the skin of the workpiece by the edge with sponges, the hammer is on the block. Squeeze the skin with sponges. Be very careful - they are sharp! And we slightly pull on ourselves ... The mites "help" you to pull the skin with their imbalance. Curved lips press the leather against the last. ALREADY pressing. If the lips were straight, you would have to make one more extra movement with the tongs to press the skin. Then let go of the skin and drive the nail into the edge. Here the massive hammer of pincers, which helped you to pull the skin towards you earlier, again "works" - you hammer the nail faster and easier, again spending less movements. Here comes the magic!
And the shoemaker's hammer ... It's a fairy tale! Its handle, wide at the bottom, is strongly worn down to the striker, the sting is massive and flattened. Well, the same imbalance method is applied, the hammer seems to "fall" forward when you hold it in your hand. Due to this design, it is easier to master such a virtuous movement as hitting a nail while simultaneously pulling the cap towards yourself (for a more thorough pulling of the skin on the block). If the hammer is done correctly, the movement, as it were, "itself" occurs almost in a circle - for this, the blow is made at 45 degrees to the head of the nail and then the movement continues "toward itself". This tightens the nail and pulls the skin. If the hammer is not well balanced, the nail has to be tightened further with your finger. With a good "magic" hammer, the finger only holds the nail back from moving.
This is how the knitter's shuttle is magical. It's as long as possible. It has very thin walls and a sting. As subtle, again, as possible. This allows more thread to be filled, which is essential. And makes the shuttle stuffed with thread "to the eyeballs" quite massive. What for? It would seem that the lighter the shuttle, the more comfortable it is - it does not pull the hand. This is only at first glance ... If the shuttle is massive enough, when the shuttle moves forward, the knitter almost throws it sharply from below into the cell and then, as it were, picks up the shuttle. This is easier and faster than making steady movements (which is inevitable if the shuttle is short and / or thick-walled and therefore light). And with a long shuttle, you don't need to tighten the knots with your little finger - this is done by moving the lower end of the shuttle.
The rest of the Knitter's Tool can be magic too.
Firstly, it is a wooden case, where the instrument is always neatly laid. Only one shuttle works. The signal for lunch is to throw the shuttle into the box and you are ready. The working day is over - everyone is taking the instrument to their living quarters. It's comfortable. There are people who continue to knit there too. Why? Didn't have time for the working day. Sometimes this is an additional income. It is convenient to knit and watch TV, which is not available in the workplace. The air is better. You can interrupt work when you want it, and not on a signal. Well, and then - you are at home ... Of course, they grumble at such people and make fun of them, but they are not forbidden to work.
Razor blade. It's a very productive thing. Well, first of all, they shave. But even after shaving, it remains a very useful thing. It is broken up and placed inside an aluminum plate bent in half. The blade is about three times as long as the blade itself. It turns out a small hatchet, which is very convenient and safe to cut the thread during the knitting process. The second half of the blade is carefully placed into the knitter's pencil case for later use. Where? First, there is a stock for the "hatchet". Then they can trim their nails - an important procedure. The cut is very smooth and free of burrs - you can't cut it like that with scissors. And the barbs on the nails cling to the thread.
Another vital function of the blade half. It is important to mention here that the knitter often keeps cigarettes in his pencil case. And when he goes on a smoke break, he pulls out only one cigarette. This warns the requests in the smoking room: "Let me light a cigarette." There is only one cigarette. Here it is necessary to prevent misunderstanding of the problem. Generosity and openness are good qualities, but there is a likelihood of running into so-called "freeloaders" who live off others and use even such a trifle as someone else's cigarettes. And there are people who have the following weakness - they cannot refuse extortionists. The everyday life of a knitter helps, if not get rid of, then put this weakness within a reasonable framework. Plus, you can't discount people who strive to live at the expense of the weaker. How to resist this? The "magic" pencil case helps where you can leave a pack of cigarettes. For people with limited means, weak in spirit and / or not at all willing to share (it turns out - to show weakness) there is also such a device as a small round aluminum pencil case. It is possible to store cigarettes in it, it is more convenient than in a pack - tobacco does not spill, cigarettes do not wrinkle. And it should be borne in mind that the thread is bleached with chlorine and is sometimes still wet. And in the pencil case there are also shuttles with thread. Therefore, cigarettes in such a case are better protected from odor and moisture. And here we will describe about that very one more useful function of the blade halves - they can cut cigarettes into "halves". What for? If you have a mouthpiece, you insert a "half" into it and calmly go to the smoking room. Guaranteed protection against beggars: "Stop smoking". Plus, it's worth noting that half smokes faster, which is important for those who save on smoke breaks, trying to make more nets and smoke in the workplace. More authoritative people allow themselves this, since it is clear that not everyone likes to breathe someone else's smoke. Plus the lack of ventilation. Almost anyone can quickly smoke a half, and many use it. A person can be blamed for smoking a whole cigarette in the workroom and emitting columns of smoke on the floor of the workshop. But what if a person bent down and took a couple of puffs practically "under the table"? In general, the knitters' workshop is always heavily smoked ...
How else to improve the efficiency of the knitting process?
By the way, the questions are probably gradually maturing: "Why are these lyrical digressions?" and "Where is the memorization technique ?!"
And this is the memorization technique. Rather, an important component of the technique.
More specifically, you can?
To be continued (may be...)
Drafts
測定45 - Draft - Part Zero (in Japanese) https://ncode.syosetu.com/n1204gj/
測定45 - Draft - Part I (in Russian) https://ncode.syosetu.com/n7565gj/
測定45 - Draft - Part I (in English) https://ncode.syosetu.com/n7683gi/
測定45 - Draft - Part II (in Russian and English) https://ncode.syosetu.com/n8287gi/
測定45 - Draft - Part III (in Russian and English) https://ncode.syosetu.com/n4820gj/
測定45 - Draft - Part IV (in Russian and English) https://ncode.syosetu.com/n6519gj/
