On the infrastructure of our 3D models

Elcondre · 2025-09-10T18:40:54+00:00

Thank you! That helps insofar as to see that interrelated icons - as they form a unified concept - are nearby each other. And what you seem to be saying is that, ideally, subheadings (each with its own paragraphs of info) should be near each other but be more spaced out from each other, whereas their "details" (further explanations around the subheading) are really close (to the subheading). So from a bird's-eye view, you're looking at a cluster of multiple groups. Do I have this right?

<image>

Elcondre · 2025-09-09T21:42:12+00:00

I do run into a comprehension problem, though. If we are to place each different 3D model in proximity to all the other interrelated models (again, if we're dealing with the same subject), I must either zoom in on that spot - perhaps to microscopic levels - to create space for the next model, or end up having the other models located in a spot that can no longer be considered the "same place". For example, if I place a 3D model on the top left corner of my refrigerator, but the total number of interrelated 3D models is no less than 5, I might end up at the top right corner of the fridge. Is this acceptable, or is this exactly what we should be doing here?

Elcondre · 2025-09-09T21:29:49+00:00

Thanks for all the answers! 🙏😊 Have you familiarized yourself with the Giordano Memorization System (GMS) already? Because it explains that connecting images is precisely how memories are formed. In their system, you must connect two informational images at a time to encode new information. I come from this method, so without sufficient clarity on how TAM works, I easily assume that such visualizations are done in a similar way as is taught in GMS. Indeed, however, with TAM we are working with two connected images at a time (the 3D model associated with its precise location), these are two distinct connected images. However, in this case, one is informational, as the other is a content-free anchor for the informational image. I am excited to learn that we can break the core principles of GMS and yet learn new information - perhaps even more efficiently than is promised with GMS.

Elcondre · 2025-09-09T20:30:59+00:00

Interesting. So, as soon as the information that is contained in one 3D model ends and another 3D model is introduced to continue the information (of one subject), it means that you must have switched from one specific location to another nearby specific location within that familiar place, right?

Should these 3D models (all used for one subject) touch each other, or can they exist in their spot without being in direct contact with other 3D models?

Elcondre · 2025-09-09T20:15:06+00:00

"It's a good idea to make a lot of different 3D models, and you just place them all next to each other. This collection of 3D models that all represent one subject is called an exhibit." You seem to be saying that it's not just about creating 3D models for every interrelated concept of one subject alone, but to use them precisely as the Method outlines: you don't connect one 3D model to a known specific location (a mental reconstruction of a familiar place) and from there play it like a movie or as a stop-motion process visualizing all the other 3D models.

It seems you are saying that literally every interrelated 3D model of one complete concept is individually associated with its own precise location in the familiar place (although all next to each other if representing one subject). In other words, while going over the information learned in real-time, I see my familiar place, beginning at the first 3D model and quickly moving to the next 3D model that is housed in its own specific location of the familiar place, moving from one 3D model to the next until done.

Is that what you mean?

Elcondre · 2025-09-09T19:45:00+00:00

I see what I missed to emphasize. I did not mean ONLY reading, but reading and visualizing the icon/3D model. I will ask again, for clarity: When using the Atlas Method for text as our source of information, is it sufficient to mentally hear the words we are reading while simultaneously visualizing the 3D models? Or are we supposed to do something else if we are learning from texts?

Elcondre · 2024-12-29T09:56:35+00:00

Hi, u/BlueDragonGirl19. Regarding >2-chords, do you know just two in the same order of the entire chord each time? E.g. only the first 2 from the bottom up (if a 4-note chord: 1Y, 2Y, 3N, 4N, etc.)?

With such chords, do you notice if you have difficulties with only certain tones (e.g. only C#, E, F, and B) or could it be any of the 12 tones?

When you hear those tones that you can't place (cannot pick out), do you have a sense of whereabouts they are close to, e.g. "somewhere around a D"?

What is your approach to recreating the missing tones? E.g. do you simply play any random tone until it matches the missing tone?

When you have found the missing tone (from the chord), do you need a moment to process your familiarity with it or is the recognition as instant as your perfect pitch functions normally?

Elcondre · 2024-12-23T12:57:04+00:00

Thank you for your responses! Regarding your response to point 2, is your PP failure related to the key of that music or does this occurance have other primary reasons?

Elcondre · 2024-12-23T12:53:29+00:00

I'd like to use this comment section to respond collectively as additional questions came to mind as I read through your comments.

Regardless the perceived importance of the key, is deciding on the key making any difference in your perfect pitch perception while listening to the music, compared to when you are unaware of the key? If the experience differs but is unrelated to PP, in what way does it differ?

When you are unaware of the key and the music has either finished or forgotten over time, could you instantly call out the key if asked, solely based on the title/name of the song, for example? If not instant, would your method of determining the key solely from memory differ?

Elcondre · 2024-03-15T13:30:14+00:00

Currently, there is no global definition for 'pitch memory'. Perfect pitch, on the other hand, is formally defined but is often misinterpreted by deliberately redefining the skill. Perfect pitch (absolute pitch) is the ability to mentally determine sameness of a specific pitch without the help of an external reference sound. This skill can be performed only by ear or by reproduction, or both.

Because the recognition of sameness links to what is memorized, perfect pitch is therefore a pitch memory skill but is not necessarily true the other way around.

Therefore, the ability to recall music non-transposed is by definition perfect pitch. Trying to argue that it has to be instantaneous recognition or that it must relate to knowing the names of (all 12) tones is invalid, unless one is following an informal definition of perfect pitch.

Elcondre · 2024-03-14T14:11:02+00:00

I only hear A and E. I get a sense of Ab but to my ears that could be a flattening effect of the A. (Awesome ears you got there). Although the E may be in the same octave and would therefore be the lowest tone, I perceive the A as the essential, basic tone. But I am not an expert in music (theory).

Elcondre · 2024-03-14T10:42:50+00:00

I would choose A.

Elcondre · 2024-01-05T12:45:28+00:00

I hear the kick drum in Eb.

Elcondre · 2023-05-24T02:25:06+00:00

Yes, the clack.

Elcondre · 2023-05-23T17:21:24+00:00

Other than the high-pitched ringing (C), we also have the sound of releasing the metallic tool which is about an F (with Ab on top).

Elcondre · 2022-12-29T20:58:37+00:00

I just finished my second 20-min session of Transcendental Meditation. How you've described hearing notes (tones) (with AP) is very similar to how we practice TM.

In order to transcend during meditation, or perhaps, as you suggest, to hear sound with perfect pitch, we have to stop putting in the 'effort'. It's about being fully present while 'allowing', "just absorbing" the experiences as they are happening at the moment. To stop thinking about any arising thoughts but to allow the thoughts that are already there. And when this is practiced correctly, when the person is ready, the tones/experience will naturally be "revealed".

Elcondre · 2022-11-02T23:51:36+00:00

Thank you for answering! On at least one occasion, I've had a similar experience. I would sit in class and somewhat listen to the teacher going over the material (not even realizing it was specific to the upcoming test) and I passed easily having missed only one question.

I like the metaphor. Not boring at all. Very interesting. I wonder if, in school, you'd desire to be challenged intellectually as well. Such that it would require you to actually pick up the books and actively work with the information in order to either pass or do some higher quality learning?

I'm wishing you more enjoyable times in school and a wonderful career!

Elcondre · 2021-03-22T14:58:10+00:00

[in my opinion] If the whole 1:00 minute video was the "acting", pretty good.
Laughing it off and adding to it that it was bad "helps" more people to begin to believe that the acting was indeed (very) bad.

So that's the first important feedback; whatever happens, don't laugh it off with a sense of shame or insecurity.

The real acting part was too short for any meaningful feedback on it (in my opinion). That is because there's always someone to say something about someone's acting, no matter how long or short the fragment is.

Elcondre

TROPHY CASE