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Beyond the Bounds of Consciousness: Conceptual and Educational Implications

Accessible online at: www.karger.com/journals/hde In Dynamic Memory Revisited [1999], Roger Schank does indeed ‘revisit’ the concept of dynamic memory. His 1999 journey is quite different than those that came before. Most notably, Schank reexamines the concept of the script as the basic ‘unit’ of memory. He suggests instead that largely unconscious, higher-level structures account for the dynamic properties of memory. The new itinerary is in several ways more satisfying than those that it modifies. In particular, the revision provides a solution to the problem of communication between and among different scripts. The modifications take Schank beyond the border of theory and basic research and into the territory of educational application. The starting point for Schank’s reexamination of memory is the concept for a ‘script’. The construct is so much a part of the history and vocabulary of cognitive science that little space need be devoted to its introduction. Schank and Abelson’s [1977] development of the concept of a memory structure that guides expectations in familiar, yet not identical, circumstances, not only had a major shaping influence on artificial intelligence and adult cognitive psychology, but on cognitive developmental psychology as well. The concept of a script provided organization for the cluster of expectations, predictions, and inferences on which adults seemingly effortlessly rely as we move through day-to-day life. It explained how it is we know that in an establishment with a counter and a menu board on the wall behind it, one approaches the counter, orders food, pays for the order, eats, and, when finished, busses one’s own table. Moreover, it explained why we would be surprised if, upon approach of one of these establishments, a gentleman wearing a tuxedo offered to valet park our car. In the domain of developmental psychology, the script concept captured the imagination of one of the most influential researchers of children’s memory, namely, Katherine Nelson. As Nelson [1997] tells the story, the concept of a script to guide thought and