Best 61 quotes of Joshua Foer on MyQuotes

All across Africa, the Pacific and the Americas, we find cultures that didn't know about mouth kissing until their first contact with European explorers. And the attraction was not always immediately apparent. Most considered the act of exchanging saliva revolting.

A meaningful relationship between two people cannot sustain itself only in the present tense.

As bad as we are at remembering names and phone numbers and word-for-word instructions from our colleagues, we have really exceptional visual and spatial memories.

Back when I lived in Brooklyn, I'd sometimes take the Q train all the way out to Coney Island and back, and work on my laptop. There's something about pushy New Yorkers looking over your shoulder that really makes you produce sentences.

During the Middle Ages they understood that words accompanied by imagery are much more memorable. By making the margins of a book colorful and beautiful, illuminations help make the text unforgettable. It's unfortunate that we've lost the art of illumination.

Evolution has programmed our brains to find two things particularly interesting, and therefore memorable: jokes and sex - and especially, it seems, jokes about sex.

Experts step outside their comfort zone and study themselves failing.

Growing up in the days when you still had to punch buttons to make a telephone call, I could recall the numbers of all my close friends and family. Today, I'm not sure if I know more than four phone numbers by heart. And that's probably more than most.

How much are we willing to lose from our already short lives by losing ourselves in our Blackberries, our iPhones, by not paying attention to the human being across from us who is talking with us, by being so lazy that we're not willing to process deeply?

If you want to make information stick, it's best to learn it, go away from it for a while, come back to it later, leave it behind again, and once again return to it - to engage with it deeply across time. Our memories naturally degrade, but each time you return to a memory, you reactivate its neural network and help to lock it in.

If you were a medieval scholar reading a book, you knew that there was a reasonable likelihood you'd never see that particular text again, and so a high premium was placed on remembering what you read. You couldn't just pull a book off the shelf to consult it for a quote or an idea.

I have never been particularly good with languages. Despite a dozen years of Hebrew school and a lifetime of praying in the language, I'm ashamed to admit that I still can't read an Israeli newspaper. Besides English, the only language I speak with any degree of fluency is Spanish.

I met with amnesiacs and savants, educators and scientists, to try to understand what memory is, why it works, why it sometimes doesn't, and what its potential might be.

Invented languages have often been created in tandem with entire invented universes, and most conlangers come to their craft by way of fantasy and science fiction.

It is forgetting, not remembering, that is the essence of what makes us human. To make sense of the world, we must filter it. "To think," Borges writes, "is to forget.

Jonah Lehrer is one of the most talented explainers of science that we’ve got. What a pleasure it is to follow his investigation of creativity and its sources. Imagine is his best book yet.

Just as we accumulate memories of facts by integrating them into a network, we accumulate life experiences by integrating them into a web of other chronological memories. The denser the web, the denser the experience of time.

Kissing could have begun as a way of sniffing out who's who. From a whiff to a kiss was just a short trip across the face.

Languages are something of a mess. They evolve over centuries through an unplanned, democratic process that leaves them teeming with irregularities, quirks, and words like 'knight.'

Life seems to speed up as we get older because life gets less memorable as we get older.

Many memory techniques involve creating unforgettable imagery, in your minds eye. Thats an act of imagination. Creating really weird imagery really quickly was the most fun part of my training to compete in the U.S. Memory Competition.

Memory training is not just for the sake of performing party tricks; it's about nurturing something profoundly and essentially human.

Monotony collapses time. Novelty unfolds it.

Monotony collapses time; novelty unfolds it. You can exercise daily and eat healthily and live a long life, while experiencing a short one. If you spend your life sitting in a cubicle and passing papers, one day is bound to blend unmemorably into the next - and disappear.

Now more than ever, as the role of memory in our culture erodes at a faster pace than ever before, we need to cultivate our ability to remember. Our memories make us who we are. They are the seat of our values and source of our character. Competing to see who can memorize more pages of poetry might seem beside the point, but it's about taking a stand against forgetfulness, and embracing primal capacities from which too many of us have became estrangedmemory training is not just for the sake of performing party tricks; it's about nurturing something profoundly and essentially human.

Once I'd reached the point where I could squirrel away more than 30 digits a minute in memory palaces, I still only sporadically used the techniques to memorize the phone numbers of people I actually wanted to call. I found it was just too simple to punch them into my cell phone.

One of the great challenges of our age, in which the tools of our productivity are also the tools of our leisure, is to figure out how to make more useful those moments of procrastination when we're idling in front of our computer screens.

One trick, known as the journey method or 'memory palace,' is to conjure up a familiar space in the mind's eye, and then populate it with images of whatever it is you want to remember.

Our ability to find humor in the world, to make connections between previously unconnected notions, to create new ideas, to share in a common culture: All these essentially human acts depend on memory.

Our culture is an edifice built of externalized memories.

Our lives are structured by our memories of events. Event X happened just before the big Paris vacation. I was doing Y in the first summer after I learned to drive. Z happened the weekend after I landed my first job. We remember events by positioning them in time relative to other events.

Our lives are the sum of our memories. How much are we willing to lose from our already short lives by … not paying attention?

Over the last few millennia we've invented a series of technologies - from the alphabet to the scroll to the codex, the printing press, photography, the computer, the smartphone - that have made it progressively easier and easier for us to externalize our memories, for us to essentially outsource this fundamental human capacity.

Part of being creative is not being super-duper focused.

Sequencing - the careful striptease by which you reveal information to the reader - matters in an article, but it is absolutely essential to a book.

Since at least the Middle Ages, philosophers and philologists have dreamed of curing natural languages of their flaws by constructing entirely new idioms according to orderly, logical principles.

Someday in the distant cyborg future, when our internal and external memories fully merge, we may come to possess infinite knowledge. But that's not the same thing as wisdom.

Some memorizers arbitrarily associate each playing card with a familiar person or object, so that the king of clubs is represented by, say, Tony Danza. The grand masters associate each card with a person, an action, or an object so that every group of three cards can be converted into a sentence.

The art and science of memory is about developing the capacity to quickly create images that link disparate ideas. Creativity is the ability to form similar connections between disparate images and to create something new and hurl it into the future so it becomes a poem, or a building, or a dance, or a novel. Creativity is, in a sense, future memory.

The best memorizers in the world - who almost all hail from Europe - can memorize a pack of cards in less than a minute. A few have begun to approach the 30-second mark, considered the 'four-minute mile of memory.'

The fact that books today are mostly a string of words makes it easier to forget the text. With the impact of the iPad and the future of the book being up for re-imagination, I wonder whether we'll rediscover the importance of making texts richer visually.

The more we remember, the better we are at processing the world. And the better we are at processing the world, the more we can remember about it.

The way to get better at a skill is to force yourself to practice just beyond your limits.

To attain the rank of grand master of memory, you must be able to perform three seemingly superhuman feats. You have to memorize 1,000 digits in under an hour, the precise order of 10 shuffled decks of playing cards in the same amount of time, and one shuffled deck in less than two minutes. There are 36 grand masters of memory in the world.

To improve, we must watch ourselves fail, and learn from our mistakes.

To the extent that experience is the sum of our memories and wisdom the sum of experience, having a better memory would mean knowing not only more about the world, but also more about myself.

Truman Capote famously claimed to have nearly absolute recall of dialogue and used his prodigious memory as an excuse never to take notes or use a tape recorder, but I suspect his memory claims were just a useful cover to invent dialogue whole cloth.

We're all just a bundle of habits shaped by our memories. And to the extent that we control our lives, we do so by gradually altering those habits, which is to say the networks of our memory. No lasting joke, or invention, or insight, or work of art was ever produced by an external memory. Not yet, at least.

We've outsourced our memories to digital devices, and the result is that we no longer trust our memories. We see every small forgotten thing as evidence that they're failing us.

What distinguishes a great mnemonist, I learned, is the ability to create lavish images on the fly, to paint in the mind a scene so unlike any other it cannot be forgotten. And to do it quickly. Many competitive mnemonists argue that their skills are less a feat of memory than of creativity.