[2] Spatial and verbal components of the act of recall.
Although this applies to learning rather than to assessment, many teachers implicitly attribute a similar but reversed process to the act of recall, believing that spontaneous recall is more valid than cued recall.
When asked about the plot hole, he quipped, "Yeah, well then we wouldn't have a third act," before explaining how the idea of recalling memories was added in later, "box[ing] [the screenwriters] in a corner a little bit".
In remembering, we add and fill in — and the more often you remember something, the more you change it, by committing to memory your own imaginative acts of recall.
What Halbwachs called 'social frameworks of memory' are not the simple product of isolated individual memories, constructed after the fact by combinations of separate reminiscences, but are rather, in part, their source, the instruments used in particular acts of recall.
The principle originally stated that the act of remembering or recalling any past experience would also bring to the fore other events or experiences that had become related, in one or more specific ways, to the experience being remembered.
From the phenomenological perspective, though memory need not be limited solely to bodily action, the act of remembering or recalling is predicated on being embodied.
The stately passacaglia — variations on a recurring ground bass that make up much of Act II — recalls the chaconne of "Keep in Touch".
Although not statistically significant, these results do not allow for the possibility that the severity of the disease might act on recall.
"Only an extraordinary act of will could recall us to our former, living selves".
