Studying phonological loop (which comes under MANY synonyms such as “buffer” that I need to list) can sometimes be frustrating as I’m studying it specifically as a MUSIC buffer in the working memory workspace, like a toy train that goes around a looping track and I can change cars or the track layout or I can jump in and ride it to get a first person POV, or change to a different train)… …but a lot of the research not only is surrounding SPEECH but much of it puts SPEECH on a huge PEDESTAL which THEN gets me to doubt my assumption that both speech AND complex sound uses the same pathways that we call the phonological loop. This study from 2020 confirms what I suspected and I can freely read the others knowing that music is also included, which will be particularly useful when studying online editing in the phonological loop, which I think is part of workspace theory and they call the loop something else.

Studying phonological loop (which
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Imagining new music. Best research I’ve found (2020) has it as being in a half-awake, half-asleep, partially hallucinatory state: a semi-conscious state that rides halfway between dreaming and waking. In control and also feeling as if guided by a muse. This matches with my experience. I’m satisfied with this explanation. Finally. —– A second point of comparison can also be offered which ties together many of the themes developed in this entry thus far: the comparison between the creative state and the dream state. As mentioned above, one of the most consistent statements of composers made about their creative processes is the foundational importance of a “dreamlike” generative state, in which “the best” ideas often come to them unbidden, and in the case of some composers (such as Mozart and Brahms) may even lead to the generation of an entire work, as long as this “semi-conscious,” dreamlike state of creation is not interrupted. Such descriptions of this generative compositional state more than superficially resemble the dream state: it is not simply that the feeling of this cognitive state is “semi-conscious” or “dreamlike,” but much more significantly that it is typified by the (seemingly) passive reception of mental contents—contents which some part of the composer/dreamer’s brain must of course be generating, but which seem to come from nowhere (or from a supernatural being, such as a god or devil). Dreams can on occasion be static and/or boring, but they are often interesting, even bizarre—and emotionally potent as well. When composers state that their “best ideas” come from such dreamlike states—or in Brahms’ words, “the themes that will endure in my compositions all come to me in this way” (Abell 1955, 6)—they seem to be saying not simply that ideas come easily in such states, but that the ideas generated in such states are actually better than those generated during normal waking consciousness—or what might be called “transformative” consciousness, the cognitive state characterized by the transformative phase. As stated previously, the generative phase is characterized most consistently by default-mode activity, while the transformative phase likely aligns mostly with executive network activity. It may be no coincidence, therefore, that the dream state is characterized by enhanced default-mode activity, and reduced executive-network activity. The neurochemistry of the dreaming brain is better understood than that of the creative (musical) brain, and therefore, it may also be productive to investigate whether and to what extent the neurochemical signatures of the dream state—high acetylcholine levels and low serotonin and norepinephrine levels—also typify and/or influence creative (musical) states. However, it should be noted that to be creative is not simply to be asleep! Composers and other artists have developed elaborate rituals for maintaining partial consciousness during their dream-like, content-generative reveries, and in seemingly all cases a kind of hybrid state between being asleep and being awake is described. Semi-conscious states may be multiple and varied, as indicated, for instance, by comparing brain activity in different types of meditative state (as described in a recent review by Rozalyn Simon and Maria Engström). In some cases default activity is increased, while in others it is decreased; similar observations would likely be found for executive network activity, and possibly salience network activity as well. There may be any number of “semi-conscious” states that practitioners of improvisation, composition, mediation, lucid dreaming, dream yoga, and the like are able to access. Quite possibly these correlate in some way either with activity levels in the networks described here, in their within-network connectivity, and/or in connectivity across networks (whether facilitative or inhibitory, or a mixture of the two). Together with the cognitive modes that may be more consciously vigilant (such as the executively “controlled” transformative phase) or open to external influence (such as the evaluative mode, afforded by the salience network), this eclectic view of the large number of ways the mind appears to be used during creative musical behavior bodes well for neuroscience’s contribution to the developing understanding musical creativity in the mind and brain. Neuroscience: Music and the Brain, David Bashwiner, and Donna Bacon (2020)

Imagining new music. Best
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I am so satisfied by the summary I didn’t even look at the paper, research the author, none of the stuff I normally do. I read what’s at the link, thought, “Oh good, FINALLY!” — because it lines up well with experience and it’s commonsense enough that I don’t feel any need to shake it up. Rare for me to NOT dive deep but honestly I’m relieved. I really did not like the “subvocalizing” explanation I always heard. This? I like.

I am so satisfied
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Been WAITING for someone to write about this. Here’s hoping I understand it. Basically, it applies the notions of autonomous chaotic systems but applies them to those that change over time and are dependent upon time. this should be a far more realistic treatment of chaotic systems as real systems, particularly biological and chemical, aren’t steady-state nor entirely random and yet we tend to model them as such. [BOOK] Attractivity and bifurcation for nonautonomous dynamical systems M Rasmussen – 2007 – books.google.com Although, bifurcation theory of equations with autonomous and periodic time dependence is a major object of research in the study of dynamical systems since decades, the notion of a nonautonomous bifurcation is not yet established. In this book, two different approaches are developed which are based on special definitions of local attractivity and repulsivity. It is shown that these notions lead to nonautonomous Morse decompositions, which are useful to describe the global asymptotic behavior of systems on compact phase spaces … Cited by 115 Related articles All 12 versions Library Search

Been WAITING for someone
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Going by “See Also”, this “transient state” maybe that “thing”. Turbulence. Negotiation. Chaos edge. Rotation. Seeing race condition there is cool because That’s where logic chips lock up for example and I think it was one of the earliest things I looked up on this research project that’s been going on and off for seven+ years But I haven’t come across again and usually I see the same things after a while. Attractor is the deeper project though. See also Attractor Carrying capacity Control theory Dynamical system Ecological footprint. Economic growth Engine test stand Equilibrium point List of types of equilibrium Evolutionary economics Growth curve Herman Daly Homeostasis Lead-lag compensator Limit cycle Limits to Growth Population dynamics Race condition Simulation State function Steady state Steady state economy Steady State theory Systems theory Thermodynamic equilibrium Transient modelling Transient response

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Part of what takes me so damn long with a lot of my research is that I am EXTREMELY hesitant to ascribe equivalence to singularities. I’ll do so as a pragmatic matter and will ignore that in 1=1, the 1 on the left is not on the right and the right is not on the left but I’ll stay aware of it. Hard to get generalize or abstract anything in a singularity view. So I go slow and repeat a lot.

Part of what takes
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