doors materializing from the wilderness leading to rooms. this is been in my train of thought for a lot of years. what’s a good metaphor? What is the present? it really is short. 400 ms seems to be the grammar systems scale. that’s almost half a second. slow. we all are music folks in our ways. You can do a lot in 400ms. n400. an example of the point is the decision whether you like a marketable product or not. do you go yuck or Yum? that’s the moment you are aware of it to yourself in words. but you can be aware of it before words. n170 things are a lot tighter. its preverbal. but you know. but once you’re under 50ms, there’s not much time for anything. I forget what happens under the speed but I have Notes. notes happen there. 1000ms/50ms = 20 “somethings” per second. can fast musician play 20 notes per second with control? it’s humanly possible. you can switch around in that timespace even though it feels like flow. “the muse”. can a person gaming or watching a movie notice 60 fps vs 20 fps? oh yes. 60 fps is hyper reality. realer than real. so we’re aware at 50ms. but then lower : the lowest i know of is 2ms. that’s absolute cellular fusion discernment level where a direction change is blurred. I don’t remember the modality anymore. visual? acoustic? just the timing. and the absolute limit for on off discernment is 1ms increments. you can’t discern ramping up or down underneath a 1ms granularity. there’s a blur at 2ms for changes. and the initial off the chart blast from surprise change doesnt really settle fully until 5ms making 5ms the practical lower limit for both kinds of minimal changes: metronomic i’d call it vs change. (texture tone maybe rod bleaching recovery or octopus cell tuning-a-guitar string interstitial beats? i don’t remember) these are cellular level that’s all i remember. 5ms practical lowest absolute for a single modality on a single smallest task of barely perceptible change. 40ms is a great choice of time as the under 50ms range is the range of nearly magical machinery things imo.

doors materializing from the … [read full article]

 

Oh, I think they are equivalent. In both mathematics and musical professional training, there is “perfect practice makes perfect”. Professional training with musicians you must stop right when you make an error, back track, go slowly and repeat until you get it right before continuing with the piece. I would place discovery and use of heuristics as equivalent to improvisational practice. Mathematics is an art and there are many equivalent ways to express similar things as with music. With music, you can “hear” the calculations as they happen but with mathematics you would only hear the calculations if you can read the steps and understand the placement of heuristics in surprising places. There is a difference in quality of process and results between a student using heuristics and a professional using heuristics just as there is a difference between the improvisation of a professional musician vs the improvisation of a student. I can’t read mathematical formulas but I can read code and I can “feel” what it’s doing as I look it, which I suspect people who can read mathematical formulas can do, which is why I believe it is equivalent to musical improvisation: the same musical idea can be present but be brought forth in numerous ways.

Oh, I think they … [read full article]

 

I learned an avant guarde notation at 14 years old that I’ve used now and again. I’m trying to find out what it’s called. But it was marking impressions left to right of the “feel” of the composition. It was less about precision of notes – not at all really – as it’s designed for interpretation by the performer so that the same score will be played differently by anybody who works with it while capturing completely the sense being conveyed. I want to say it was a John Cage thing or maybe from the Jazz world. I’m going to have to find it. I had those lessons in the mid 1980s.

I learned an avant [read full article]

 

At 11, I was supposed to go to Julliard music school. Right near the entry time, I bowed out. I could see my future and I didn’t like it. Same time frame, I stopped a “Gifted Class” test when I realized it wasn’t for me. I love going in deep but quickly. I can’t free float. I need to stay tethered so long as I choose the tether.

At 11, I was [read full article]

 

I was disappointed at first that I was so close to norms, but in a way, that’s a good. It shows that I’m not excessively removed from humanity, that I can understand and relate and explain in ways that can be understood. It also says good things about humanity: That we may be far more creative than we are given credit for, that “that random average guy over there” may secretly have dreams of being a great musician or that puzzling out how to hold their household or business together requires as much creativity as you or I.

I was disappointed at [read full article]

 

I don’t think it’s anything special of me. It’s just easier for me to “do friends” online than off. Here, I’ll make analogies: Is a Pokemon player limited to Dunbar’s number or can they easily memorize 807 Pokemon * their abilities ^ their interactions with each other? Or: Can a musician know musical phrases from tens of thousands of songs? These big numbers are nothing special.

I don’t think it’s [read full article]