book.md 2.0 KB
#Book
Fear of Reality
From my anecdotes, what is it that these people are afraid of? More detail than simply chaos vs order.
Stef -> fear of not being accepted by his mother Mano -> fear of being powerless
Book Research / Theory
Improvisation patterns -> study of perception / awareness. Cognitive biases surrounding one's ability to see all patterns when increasing depth of development an dmastery within a particular domain.
As we increase our knowledge base, expand our toolset and refine our skills within a domain, we naturally assume we are able to have a more complete perception of what the domain consists of and this is of course natural and reasonable. What is the limit, however, of our ability to infer new patterns from old ones, when operating in "automatic" exploratory mode?
We must become prone to configuring our mode of being in this mode, as our confidence increases and it becomes less costly to make observation from this mode. When improvising, we rely upon embedded learned patterns to make deductions about the possibilities readily available, choose from them and then utilize them as fundamental building blocks for patterns which are occurring or manifesting at another level of abstraction. We hope to reach a level of perceiving all fundamental structures and organizing their use in a manner which best demonstrates the beauty of sound, while also expressing and conveying the field of being of the improviser or composer.
To what degree are we able to infer "missing" patterns which were not explicitly studied, practiced and internalized?
What role does complexity play? What is the limit? Is it based on physical reproduction? If we the mental has a larger capacity, is there a limit there? Is the limit conceivable given what we understand about physical invocation of sound? Complexity of instrumentation in symphonic sound?
Are there drawbacks to complexity of internalized patterns, such that an emphasis on them renders the mind less able to perceive fundamental, more universal patterns?