**2. Memory and communicative rhetoric applied to the method of the orator's walk 2.0**

The art of memory is an essential piece in the oral persuasive process. According to the most classical research, there are two types of memory—one is natural memory, and the other, like the one at hand, is a product of technique (orator's walk 2.0). Natural memory is that which appears innately in our minds and is born at the same time as thought. Artificial memory is the memory that has been reinforced by certain learning and a series of theoretical rules [2]. In the same way, as in another aspect, the natural capacities frequently enter into rivalry with the acquired knowledge and the technique consolidates and establishes the natural qualities. The Rhetorica ad Herrenium also establishes that natural memory, when it is exceptional in nature, sometimes rivals artificial memory and, concurrently, artificial memory preserves and develops innate qualities thanks to the rules and methodology of art. Therefore, to achieve memory perfection, like natural memory, it must be enhanced with technical learning, the memory that is acquired through experiential learning requires natural qualities.

As in many other spheres of rhetorical efficiency, doctrine shines with the help of natural ability, and natural and innate qualities shine through learning. This bidirectional axiom becomes a sine qua non for the optimal application of our method of the speaker's walk 2.0 [2].

The investigatory study with special care of the environments and spaces that we have chosen is very important so that they are recorded and settled in us with clarity forever, since images, like letters, fade and are erased when they are not. Environments are used, but surprisingly, such as canvas or earth must endure. Traditionally, the first investigations indicated that to avoid any type of error in the enumeration of the environments, it was necessary to indicate ten by ten. In the technical process of applying the method, it is important to find semiological narrative connections of the nature of the content, form, cause, effect, color, texture, size, signifier, signified, … The artistic ability to mesh with suddenly forming the evocative links between the concepts, will result in the natural unfolding of the brilliance of the application of the methodology.

A good memory palace is an imaginary place based on a building, house, or place that really exists and that we know well, with clearly defined rooms that are easy to memorize. Its rooms and corners must provide the necessary game when associating different mental images inside. It is preferable to choose these environments of deserted, open and immaculate places, rather than frequent, since the influx of people and starting decoration, with its nooks, comings and goings, alter, and weaken the features of the images [2].

On the other hand, in deserted and immaculate detail environments, they preserve their forms intact and the efficiency of memory lucidity is clearly increased when it comes to mental travel. It is highly recommended to choose environments that differ

and discriminate in appearance and nature so that they can be easily distinguished by their expressive diversity. For example, if someone chooses several cubes of bright color, in three dimensions, that represent an idea of segmentation of markets of a star product of a brand x, the resemblance will create such confusion that they will not know since they have placed in each environment and each space [3]. In this way, the mind will end up cognitively fusing the appearance of the concepts in each environment, and narrative confusion will be present.

When choosing a macro environment for creation, it is important to note that the environments must be small in size, but not excessively small. There is no direct relationship between the dimensions of the canvas space and the possibilities of spatial profitability of the concepts. There is no such space-efficient relationship since the important thing is the clear and meridian perception of the finite dimensions of the environment or the original canvas by the creator. With practice in the application, the longitudinal dimensions of the base environment do not matter so much, and the transverse depth allowed by the interspaces is much more important [2]. Therefore, if we choose an imaginative giant soccer field, as the primary environment for the creation and establishment of concepts, we can think in the first instance that it is a tremendously vast space to be able to include all the images-concepts that we need.

But it is a false perception, because the reality is that since the large dimensions of the environment do not contain potential discrimination, or morphological contrast in their environment, (far from the field lines) the possibilities to be able to anchor many concepts efficiently and lucid decline considerably. We must put the focus on an environment that is not excessively broad, but that, especially, that allows a clear and sharp divergent path for his rote storytelling in the execution of the oratorio [2].

This assumption is the conceptual basis on which the possibility of incorporating our body as a base canvas for discourse is based, and it is one of the vital factors of our method of the speaker's walk 2.0. It is also not advisable to select environments that are too small since, apparently, they will not be able to contain quantitatively too much image content. The surroundings should not be too bright, nor too dark so that the darkness does not obscure the images and the glare does not dazzle the mental journey [2]. For this reason, it is important that we use a medium luminosity so that the concepts can be anchored and settled, in a clear and lucid way. For example, if we choose the soccer field as the space or base environment, it is recommended that we choose brightness during the day and not at night; and if we apply it to our body, we better consider a medium-light that allows the clear drawing of our conceptual images in it [2].

On the other hand, to enhance our memory in this technique it is highly recommended that the intervals or the interspaces between the environments should be of medium dimensions, about 10 m if we make a forced adaptation to physical dimensions. Thought is like sight, which has less force when it moves away or when it gets too close to the object that it must contemplate [2].

Although it is easy for those who have a relatively broad experience to obtain as many environments and as appropriate as they want, however, those who think that they will not find sufficiently appropriate environments will be able to have as many as they want since the imagination can conceive any space to its liking, and form and build in it a fertile environment [3]. It is very important when choosing an environment that we manage to appropriate our own environment, that is, that we do not use a second-hand environment and that we make it our own, personalize it. For this reason, the location of the body as a creative parament is the maximum exponent of the living, lucid, and first-hand appropriation of the narrative of our rhetorical walk.

#### *Efficient Conscious Speaking - Live Communication Pedagogical Technique… DOI: http://dx.doi.org/10.5772/intechopen.101093*

When we appropriate an environment, we achieve that attention is activated, not memory, and somehow, we avoid a replica [3]. Therefore, if the environments that are available to us in everyday life do not satisfy us, we can configure for ourselves an imaginatively adapted space, and have its appropriate environments, and easy to distinguish. By reproducing an environment automatically of reality, we are loaded with mental expectations and a little relaxed demand for the efficient practice of the process.

The pictures must resemble the objects, and for our own use, we have to choose similarities from all the words. There must, therefore, be infinite classes of resemblances, one with objects, words, textures, emotional sign (contractive or expansive), semiological, content, form, cause, effect, color, size, signifier, signified, … Similarities with things are achieved when we form an image that conceptually summarizes through its visual identity the issue in question to evoke. Despite the fact that an image is a compressor and stopper of reality, we obtain similarities with the words when the memory of each name or each term is preserved, thanks to its image [3].

The memory that is located in the left cerebral hemisphere is passive and receptively very demanding. The attention that is located in the right cerebral hemisphere is active, creative, imaginative, and free of demands and conventions. When we see insignificant, ordinary, and habitual things in daily life, we do not usually remember them because there is nothing new or extraordinary that mobilizes our spirit. It is a way of stimulating the most passive area of our brain, and the beautiful cover of grace to the room of memory disappears almost before passing the threshold. It becomes a second-hand message, and the left hemisphere of our brain is activated [2]. But if we hear or see something that is exceptionally imaginative, creative, embarrassing, dishonest, unusual, great, incredible, and ridiculous, we tend to remember it much better, and for much longer. In fact, if we appropriate this concept, and give it a personal dose to enhance its qualities and give it our genuine perfume, it becomes an image that is very difficult for the brain to forget. In this way, memory is being activated through attention. For this reason, we habitually forget what we are hearing or seeing, immediately before our eyes, but we often remember perfectly what happened in an unexpected way in our past and in our childhood. This can only be due to the fact that ordinary things, concepts, and images are easily erased from memory, while outstanding and novel things linger longer in the mind [2]. Nobody is surprised by an apparently nondescript shower because it happens every day, but they admire a spectacular sunset on the beach because they will be experienced rarely. At this point, it is important to note that memory has a fascinatingly subtle relationship with one of the nine mindfulness attitudes that Jon Kabat-Zinn has investigated in-depth: "beginner's mind" [4].

When we deploy the beginner mind, we manage to activate a bridge between the rational left hemisphere (memory) to the creative right hemisphere (attention), which directly results in an exponential enhancement of our ability to be present, and globally in our systemic memory [5]. In addition, given that we promote the right hemisphere, which has a strong link with creativity, and with lower levels of expectations and demands, levels of self-confidence also increase considerably. That is to say, that the speaker who cultivates the "beginner's mind," through this bridge, does not demand himself in such an extreme way the millimeter verbal reply of certain words. Somehow in the left hemisphere, we find a single highway to reach the communicative destination. In contrast, in the right hemisphere, we achieve thousands of neural cerebral highways to reach the concept, and the image [5].

The "beginner's mind" consists of the attitude of observing, without judgment, "something" as if it was the first time, with great interest, and without being carried away by previous experiences or labels, ensuring that our memories, judgments, and previous experiences do not cloud what is happening "now." But regardless of this concept, which would deserve another considerably in-depth essay to delve into the effects on memory and mindfulness, the nature of our mind, under normal conditions, shows us that it is not sensitive to vulgar and habitual things, but that it is let you move by the novelty, or the extraordinary themes [6].
