We remove ourselves from the experience itself to a surrogate of the experience, which is whatever measure you take from the brain, be it the electroencephalogram or magnet encephalography or say functional magnetic resonance. So it's pretty tough to make those comparisons.

I think it's possible to a certain extent to make those comparisons. The problem is the detail with which the comparison can be made. Of course, the first place to make such a comparison would be to ask for a testimony from different people and have people report on what they experience.

If something produces an undue amount of pleasure or undue amount of displeasure, it's going to be judged differently and it's going to be introduced in your narrative with a different size, with a different development. So that is the next element to superimpose on the sequencing element. And in fact, that element is so powerful that very often it can trump the sequencing event, that the sequencing aspect.

Writing long hand is the last refuge. One needs the time it takes to put pencil to paper and let it run along the ruled line.

But whether we want to do it because we want to have people to have a different idea of who we are or not, we do it naturally. So the way we construct our narrative is different from the way we constructed it a year ago. The difference is maybe very small or it may be huge.

All of that is constantly operating when you not only learn, but when you recall. But as you recall in a different light, the weights with which something is more probably going to be or not recalled on the next instance, are going to be changed. So you're constantly changing the way, for instance, synapses are going to fire very easily or not so easily.

If you have just an emotion, you would not necessarily feel it. To feel an emotion, you need to represent in the brain in structures that are actually different from the structures that lead to the emotion, what is going on in the organs when you're having the emotion.