John Coltrane’s “Giant Steps” & Bach’s “Prelude in C Major” Get Turned into Dazzling Musical Animations by an Artist with Synesthesia

in Film, Music, Neuroscience, Psychology | October 28th, 2020

Colour is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.

—Wassily Kandinsky

We may owe the history of modern art to the condition of synesthesia, which causes those who have it to hear colors, see sounds, taste smells, etc. Wassily Kandinsky, who pioneered abstract expressionism in the early 20th century, did so “after having an unusually visual response to a performance of Wagner’s composition Lohengrin at the Bolshoi Theatre,” the Denver Museum of Art notes. He was so moved by the moment that he “abandoned his law career to study painting at the prestigious Munich Academy of Fine Arts. He later described the life-changing experience: ‘I saw all my colors in spirit, before my eyes. Wild, almost crazy lines were sketched in front of me.’”

Kandinsky never heard Coltrane, but if he had, and had access to 3D rendering software, he might have made something very much like the short animation above from Israeli artist Michal Levy. “Roughly 3 per cent of people experience synaesthesia,” writes Aeon, “a neurological condition in which people have a recurring sensory overlap, such as … envisioning letters and numbers each with their own inherent colour.”

Levy’s condition is one of the most common forms, like Kandinsky’s: “chromaesthesia, in which sounds and music provoke visuals.” Where the Russian painter saw Wagner in “wild, almost crazy lines,” Levy sees the “rollicking notes” of Coltrane’s Giant Steps as a “kinetic, cascading cityscape built from colourful blocks of sound.”

After visualizing her experience of Coltrane, Levy created the animation above, Dance of Harmony, to illustrate what happens when she hears Bach. During a maternity leave, working with her friend, animator Hagai Azaz, she set herself the challenge of showing, as she describes it, “the cascading flow of emotion, to make the feeling contagious, by using only color, the basic shape of circles, and minimalist motion, assigning to each musical chord the visual elements that correspond to it synaesthetically.”

It is fascinating to compare Levy’s descriptions of her condition with those of other famous synesthetes like Vladimir Nabokov and, especially Kandinsky, who in essence first showed the world what music looks like, thereby giving art a new visual language. Levy calls her synesthesia art, an “emotional voyage of harmony,” and includes in her visualization of Bach’s famous prelude an “unexpected elegiac sidebar of love and loss,” Maria Popova writes. Read Levy’s full description of Dance of Harmony here and learn more about the “extraordinary sensory condition called synesthesia” here.

via Aeon

Jazz Deconstructed: What Makes John Coltrane’s “Giant Steps” So Groundbreaking and Radical?

Deconstructing Bach’s Famous Cello Prelude–the One You’ve Heard in Hundreds of TV Shows & Films

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagnes

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Electronic Musician Shows How He Uses His Prosthetic Arm to Control a Music Synthesizer with His Thoughts

in Health, Music, Neuroscience, Technology | February 20th, 2020

The techno-futurist prophets of the late 20th century, from J.G. Ballard to William Gibson to Donna Haraway, were right, it turns out, about the intimate physical unions we would form with our machines. Haraway, professor emeritus of the History of Consciousness and Feminist Studies at the University of California, Santa Cruz, proclaimed herself a cyborg back in 1985. Whether readers took her ideas as metaphor or proleptic social and scientific fact hardly matters in hindsight. Her voice was predictive of the everyday biometrics and mechanics that lay just around the bend.

It can seem we are a long way, culturally, from the decade when Haraway’s work became required reading in “undergraduate curriculum at countless universities.” But as Hari Kunzru wrote in 1997, “in terms of the general shift from thinking of individuals as isolated from the ‘world’ to thinking of them as nodes on networks, the 1990s may well be remembered as the beginning of the cyborg era.” Three decades later, networked implants that automate medical data tracking and analysis and regulate dosages have become big business, and millions feed their vitals daily into fitness trackers and mobile devices and upload them to servers worldwide.

So, fine, we are all cyborgs now, but the usual use of that word tends to put us in mind of a more dramatic melding of human and machine. Here too, we find the cyborg has arrived, in the form of prosthetic limbs that can be controlled by the brain. Psychologist, DJ, and electronic musician Bertolt Meyer has such a prosthesis, as he demonstrates in the video above. Born without a lower left arm, he received a robotic replacement that he can move by sending signals to the muscles that would control a natural limb. He can rotate his hand 360 degrees and use it for all sorts of tasks.

Problem is, the technology has not quite caught up with Meyer’s need for speed and precision in manipulating the tiny controls of his modular synthesizers. So Meyer, his artist husband Daniel, and synth builder Chrisi of KOMA Elektronik set to work on bypassing manual control altogether, with a prosthetic device that attaches to Meyer’s arm where the hand would be, and works as a controller for his synthesizer. He can change parameters using “the signals from my body that normally control the hand,” he writes on his YouTube page. “For me, this feels like controlling the synth with my thoughts.”

Meyer walks us through the process of building his first prototypes in an Inspector Gadget-meets-Kraftwerk display of analogue ingenuity. We might find ourselves wondering: if a handful of musicians, artists, and audio engineers can turn a prosthetic robotic arm into a modular synth controller that transmits brainwaves, what kind of cybernetic enhancements—musical and otherwise—might be coming soon from major research laboratories?

Whatever the state of cyborg technology outside Meyer’s garage, his brilliant invention shows us one thing: the human organism can adapt to being plugged into the unlikeliest of machines. Showing us how he uses the SynLimb to control a filter in one of his synthesizer banks, Meyer says, “I don’t even have to think about it. I just do it. It’s zero effort because I’m so used to producing this muscle signal.”

Advancements in biomechanical technology have given disabled individuals a significant amount of restored function. And as generally happens with major upgrades to accessibility devices, they also show us how we might all become even more closely integrated with machines in the near future.

via Boing Boing

Evelyn Glennie (a Musician Who Happens to Be Deaf) Shows How We Can Listen to Music with Our Entire Bodies

Neurosymphony: A High-Resolution Look into the Brain, Set to the Music of Brain Waves

Twerking, Moonwalking AI Robots–They’re Now Here

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

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How Yoga Changes the Brain and May Guard Against Alzheimer’s and Dementia

in Health, Neuroscience | December 18th, 2019

Photo by Abhisek Sarda, via Wikimedia Commons

I tend to be somewhat skeptical of scientific research that focuses solely on what practices like meditation do to the greyish-pinkish-white stuff inside our skulls. Humans are too complex to be treated like brains in vats. Holistic disciplines like meditation and yoga emphasize the union of mind and body, and neuroscientists have shown how mental and emotional health is as tied to the functioning of our circulatory systems and microbiomes as it is to proper brain function.

On the other hand, there’s no denying the importance of brain health, given that it’s the one organ we may never be able to replace. While we may have grown accustomed to, and maybe even weary of, seeing mindfulness under the scanner, the neuroscience of yoga hasn’t received nearly as much press. This is changing for several reasons. Most prominently, “yoga has particularly gained traction as a research area of interest in its promising potential of therapy to combat the alarming increase in age-related neurogenerative diseases.”

So notes a systemic review of the current literature on yoga and brain health published in the journal Brain Plasticity this past November. The authors surveyed 11 different studies, all of which preserved the typical Hatha yoga mix of postures, meditation, and breathing exercises in their methodology. Each study also “used brain-imaging techniques such as MRI, functional MRI or single-photon emission computerized tomography” to assess physical brain changes, reports Science Daily.

The survey authors define yoga as “the most popular form of complementary therapy practiced by more than 13 million adults,” as well as an ancient practice that “dates back over 2000 years to ancient India.” Whether one does yoga in more spiritual or more secular contexts, its “acute and intervention effects on cognition are evident” across the entire range of studies. The research confirms much of what we might expect—yoga has a positive effect on mood, demonstrating “the potential to improve anxiety, depression, stress and overall mental health.”

The survey also showed consistent findings we might not have expected. Despite the typically slow pace of a Hatha yoga routine, all the studies found evidence that “yoga enhances many of the same brain structures and functions that benefit from aerobic exercise,” as Science Daily points out. “From these 11 studies, we identified some brain regions that consistently come up, and they are surprisingly not very different from what we see with exercise research,” says lead author Neha Gotha, kinesiology and community health professor at the University of Illinois.

Gotha identifies one of those benefits as an increase in the size of the hippocampus, the region of the brain that tends to shrink with age and “the structure that is first affected in dementia and Alzheimer’s disease.” Other regions affected include the amygdala, which contributes to emotional regulation, and the prefrontal cortex, which is “essential to planning, decision-making, multitasking, thinking about your options and picking the right option,” says study co-author Jessica Damoiseaux, psychology professor at Wayne State University.

“Yoga is not aerobic in nature,” says Gotha, “so there must be other mechanisms leading to these brain changes. So far we don’t have the evidence to identify what those mechanisms are.” The effects, however, aren’t only similar to those of more vigorous exercise; in some cases, yoga seemed even more effective. Nicole McDermott at Greatist explains that in one study Gotha conducted with 30 female colleagues, “reaction times were shorter and accuracy was greater after the yoga session compared to 20 minutes of a treadmill.” Even more surprisingly, “jogging resulted in nearly the same cognitive performance as the baseline testing when the women didn’t exercise at all.”

These results should be seen as provisional and preliminary. “We need more rigorous and well-controlled intervention studies to confirm these initial findings,” Damoiseaux cautions. But they may contribute to growing evidence of the “mind-body connection” yoga helps foster. Better mood and lowered stress tend to improve brain health overall. Other studies support these conclusions, such as research showing how yoga practice over time enlarges the somatosensory cortex, which contains a “mental map” of the body and promotes greater self-awareness.

No doubt we’ll see many more studies on yoga and brain function in the coming years. For the time being, the science strongly suggests that when we hit the yoga mat to limber up and de-stress, we’re also helping to proof our brains against debilitating effects of aging like memory loss and cognitive decline. Read Gotha and Damoiseaux’s full survey of the neuroscience of yoga here.

via Science Daily

Sonny Rollins Describes How 50 Years of Practicing Yoga Made Him a Better Musician

Yoga in an X‑Ray Machine

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( 1 ) |

Clive James & Jonathan Miller (Both RIP) Talk Together About How the Brain Works

in Neuroscience, Podcasts | December 3rd, 2019

“Were they the last representatives of a special kind of public intellectual?” asks John Mullen in the Guardian. He writes of Clive James and Jonathan Miller, two figures who exemplified “the polymath as entertainer.” The Australian-born James became famous on the back of the television criticism that turned him into a television fixture himself. The combined TV critic and TV host also played the same dual role in the realm of poetry, and as his life and career went on — and his bibliography greatly expanded — it came to seem that there were few forms, traditions, time periods, or languages his cultural omnivorousness didn’t reach. Trained as a doctor before he redefined British comedy as a member of Beyond the Fringe, Miller retained his scientific interests, using his fame to write books and present a television show on anatomy, psychology, and language, and much more besides.

Since the deaths of both James and Miller were announced last Friday, the outpouring of tributes (most of them lamenting the seeming loss, in our time, of high-profile roles for entertaining polymaths free to move between “high” and “low”) has been accompanied by a renewed enthusiasm for both men’s considerable bodies of work.

Despite having known each other, James and Miller seem never to have explicitly collaborated on anything — except, that is, an episode of Talking in the Library, an early example of what we would now call an interview web series. Produced from 2006 to 2008, the show has James pioneering a form that has now become standard among podcasters: recording the conversations he wanted to have with his friends anyway.

In James’ case, his friends include the likes of not just Miller but Martin Amis, Ruby Wax, Ian McEwan, Stephen Fry, and Terry Gilliam. With Miller, James spends the half-hour talking science, and specifically neuroscience. Miller, who specialized in neurology while studying medicine (and who counted Oliver Sacks as a close friend since age 12), returned to the subject in the early 1980s for his book and BBC series States of Mind. Not long thereafter he returned at the age of 50 to his medical studies, diving into neuropsychology at McMaster University and becoming a research fellow at the University of Sussex.

Though James abandoned his own university studies in psychology by 1960, his curiosity about the workings of the human brain — and how it could produce all the art, literature, film, and indeed television to whose appreciation he dedicated his life — never abandoned him, as evidenced by the eagerness with which he asks questions of his more neuroscientifically savvy friend. “The brain is the most complicated thing in the universe,” says Miller, “so complicated, in fact, that by contrast the universe itself it not much more complicated than a cuckoo clock.” Fair to say that both Miller and James had the good luck to possess more complicated, or at least more interesting, brains than average — and that it’s our good luck to be able to enjoy their work in perpetuity.

John Cleese & Jonathan Miller Turn Profs Talking About Wittgenstein Into a Classic Comedy Routine (1977)

The Drinking Party, 1965 Film Adapts Plato’s Symposium to Modern Times

Join Clive James on His Classic Television Trips to Paris, LA, Tokyo, Rio, Cairo & Beyond

Your Brain on Art: The Emerging Science of Neuroaesthetics Probes What Art Does to Our Brains

Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. He’s at work on a book about Los Angeles, A Los Angeles Primer, the video series The City in Cinema, and the crowdfunded journalism project Where Is the City of the Future? Follow him on Twitter at @colinmarshall or on Facebook.

by Colin Marshall | Permalink | Make a Comment ( None ) |

What Is Higher Consciousness?: How We Can Transcend Our Petty, Day-to-Day Desires and Gain a Deeper Wisdom

in Neuroscience, Philosophy, Psychology | November 25th, 2019

Each of us has a normal state of mind, as well as our own way of reaching a different state of mind. As the School of Life video above reminds us, such habits go back quite deep into recorded history, to the eras when, then as now, “Hindu sages, Christian monks and Buddhist ascetics” spoke of “reaching moments of ‘higher consciousness’ – through meditation or chanting, fasting or pilgrimages.” In recent years, the practice of meditation has spread even, and perhaps especially, among those of us who don’t subscribe to Buddhism, or indeed to any religion at all. Periodic fasting has come to be seen as a necessity in certain circles of wealthy first-worlders, as has “dopamine fasting” among those who feel their minds compromised by the distractions of high technology and social media. (And one needs only glance at that social media to see how seriously some of us are taking our pilgrimages.)

Still, on top of our mountain, deep into our sitting-and-breathing sessions, or even after having consumed our mind-altering substance of choice, we do feel, if only for a moment, that something has changed within us. We understand things we don’t even consider understanding in our normal state of mind, “where what we are principally concerned with is ourselves, our survival and our own success, narrowly defined.”

When we occupy this “lower consciousness,” we “strike back when we’re hit, blame others, quell any stray questions that lack immediate relevance, fail to free-associate and stick closely to a flattering image of who we are and where we are heading.” But when we enter a state of “higher consciousness,” however we define it, “the mind moves beyond its particular self-interests and cravings. We start to think of other people in a more imaginative way.”

When we rise from lower to higher consciousness, we find it much harder to think of our fellow human beings as enemies. “Rather than criticize and attack, we are free to imagine that their behavior is driven by pressures derived from their own more primitive minds, which they are generally in no position to tell us about.” The more time we spend in our higher consciousness, the more we “develop the ability to explain others’ actions by their distress, rather than simply in terms of how it affects us. We perceive that the appropriate response to humanity is not fear, cynicism or aggression, but always — when we can manage it — love.” When our consciousness reaches the proper altitude, “the world reveals itself as quite different: a place of suffering and misguided effort, full of people striving to be heard and lashing out against others, but also a place of tenderness and longing, beauty and touching vulnerability. The fitting response is universal sympathy and kindness.”

This may all come across as a bit new-age, sounding “maddeningly vague, wishy washy, touchy-feely – and, for want of a better word, annoying.” But the concept of higher consciousness is variously interpreted not just across cultural and religious traditions but in scientific research as well, where we find a sharp distinction drawn between the neocortex, “the seat of imagination, empathy and impartial judgement,” and the “reptilian mind” below. This suggests that we’d benefit from understanding states of higher consciousness as fully as we can, as well as trying to “make the most of them when they arise, and harvest their insights for the time when we require them most” — that is to say, the rest of our ordinary lives, especially their most stressful, trying moments. The instinctive, unimaginative defensiveness of the lower consciousness does have strengths of its own, but we can’t take advantage of them unless we learn to put it in its place.

How Meditation Can Change Your Brain: The Neuroscience of Buddhist Practice

David Lynch Explains How Meditation Boosts Our Creativity (Plus Free Resources to Help You Start Meditating)

The Neuronal Basis of Consciousness Course: A Free Online Course from Caltech

The Unexpected Ways Eastern Philosophy Can Make Us Wiser, More Compassionate & Better Able to Appreciate Our Lives

Medieval Monks Complained About Constant Distractions: Learn How They Worked to Overcome Them

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

by Colin Marshall | Permalink | Make a Comment ( 1 ) |

Neuroscience & Jazz Improvisation: How Improvisation Shapes Creativity and What Happens Inside Our Brain

in Neuroscience | November 25th, 2019

Jazz improvisation has become a hot topic in neuroscience lately, and little wonder. “Musical improvisation is one of the most complex forms of creative behavior,” write the authors of a study published in April in Brain Connectivity. Research on the brains of improvisers offers “a realistic task paradigm for the investigation of real-time creativity”—an even hotter topic in neuroscience.

Researchers study jazz players for the same reason they take MRI scans of the brains of freestyle rappers—both involve creating spontaneous works “where revision is not possible,” and where only a few formal rules govern the activity, whether rhyme and meter or chord structure and harmony. Those who master the basics can leap into endlessly complex feats of improvisatory bravado at any moment.

It’s a power most of us only dream of possessing—though it’s also the case that many a researcher of jazz improvisations also happens to be a musician, including study author Martin Norgaard, a trained jazz violinist who “began studying the effects of musical improvisation… while earning his Ph.D. from the University of Texas at Austin,” notes Jennifer Rainey Marquez at Georgia State University Research Magazine.

Norgaard interviewed both students and professional musicians, and he analyzed the solos of Charlie Parker to find patterns related to specific kinds of brain activity. In this recent study, Norgaard, now at Georgia State University, worked with Mukesh Dhamala, associate professor of physics and astronomy, using an fMRI to measure the brain activity of “advanced jazz musicians” who sang both standards and improvisations while being scanned.

The researchers’ findings are consistent with similar studies, like those of John Hopkins surgeon Charles Limb, who also considers jazz a key to understanding creativity. While improvising, musicians show decreased activity in the prefrontal cortex, the area of the brain that generates planning and overthinking, and gets in the way of what psychologists call a state of “flow.” Improvising might engage “a smaller, more focused brain network,” says Norgaard, “while other parts of the brain go quiet.”

Training and practice in improvisation may also have longer-term results as well. A study contrasting the brain activity of jazz and classical players found that the former were much quicker and more adaptable in their thinking. The researchers attributed these qualities to changes in the brain wrought by years of improvising. Norgaard and his team are much more circumspect in their conclusions, but they do suggest a causal link.

In a study of 155 8th graders enrolled in a jazz for kids program, Norgaard found that the half who were given training in improvisation showed “significant improvement in cognitive flexibility.” Research like this not only validates the intuitions of jazz musicians themselves; it also helps define specific questions about the cognitive benefits of playing music, which are generally evident in study after study.

“For nearly three decades,” Norgaard says, “scientists have explored the idea that learning to play an instrument is linked to academic achievement.” But there are “many types of music learning.” It’s certainly not as simple as studying Bach to work on accuracy or Coltrane for flexibility, but different kinds of music creates different structures in the brain. We might next wonder about the mathematical properties of these structures, or how they interact with modern theories of physics. Rest assured, there are jazz-playing scientists out there working on the question.

via Futurity

The Secret Link Between Jazz and Physics: How Einstein & Coltrane Shared Improvisation and Intuition in Common

Philosopher Jacques Derrida Interviews Jazz Legend Ornette Coleman: Talk Improvisation, Language & Racism (1997)

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness.

by Josh Jones | Permalink | Make a Comment ( 1 ) |

Neurosymphony: A High-Resolution Look into the Brain, Set to the Music of Brain Waves

in Neuroscience | November 22nd, 2019

We can’t talk about how music moves us without talking about what, exactly, music does to our brains. The musicophile neurologist Oliver Sacks made the relationship between music and the brain one of the themes of his career, and were he alive today, he would surely enjoy Neurosymphony, a new audiovisual experience of the brain now up at Aeon. It takes the highest-resolution MRI scan of the human brain in existence, featured earlier this year here at Open Culture, and mashes it up with music suitable for a journey through the cross-sections of our most impressive organ — suitable not just aesthetically, but also in the sense that it, too, was made from the stuff of the brain.

Originally scanned by the Laboratory for NeuroImaging of Coma and Consciousness (NICC) at Massachusetts General Hospital in Boston, this brain imagery is soundtracked in Neurosymphony by “an excerpt from the album Chapel by the US electronic musician and music-cognition researcher Grace Leslie, in which she converts her brainwaves into music.” On her web site, Leslie describes herself as “committed to harnessing the expression granted by new music interfaces to better understand the link between music and emotion, with an ultimate goal of employing musical brain-computer interfaces to promote wellness.”

A few years ago, Leslie revealed her process of converting brain waves to musical sounds to BBC Future. “Using equipment that monitors the electrical activity of her brain, changes in her heart rate and subtle shifts in the conductance of her skin, she is creating music from the signals produced by her own body while on stage,” writes Richard Gray. “Leslie plays these signals through an electronic synthesizer to produce ambient sounds that reflect what is going on in her body. She can also filter the sounds from musical instruments, like a flute, with the signals from her body to mix them together in a computer.” You can watch Leslie’s 2017 performance of another such piece, Audible, in the video below.

While Leslie’s methods produce music quite unlike what most of us are used to, her goals go beyond the performative. “Ultimately, Leslie believes this innovative form of musical expression could be used to help those who have difficulty interacting with the world, such as those with autism,” writes Gray. In this way she has something in common, beyond pure interest in the brain, with the team at the NICC, who produced their groundbreaking scans as a part of their mission to further the understanding of recovery from traumatic brain injury. All worthy pursuits, of course, but it certainly doesn’t hurt that their by-products include works like Neurosymphony that motivate us all to learn a bit more about the nature of our own brains.

Music in the Brain: Scientists Finally Reveal the Parts of Our Brain That Are Dedicated to Music

The Neuroscience of Bass: New Study Explains Why Bass Instruments Are Fundamental to Music

The Neuroscience of Drumming: Researchers Discover the Secrets of Drumming & The Human Brain

The Science of Singing: New, High-Speed MRI Machine Images Man Singing ‘If I Only Had a Brain’

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

by Colin Marshall | Permalink | Make a Comment ( None ) |

The Benefits of Boredom: How to Stop Distracting Yourself and Get Creative Ideas Again

in Creativity, Neuroscience, Psychology | November 7th, 2019

Here in the 21st century, we have conquered boredom. Impressive though that achievement may be, it hasn’t come without cost: As with many other conditions we’ve managed to eliminate from our lives, boredom now looks to have been essential to full human existence. Has our reality of on-demand distractions, tailored ever more closely to our impulses and desires, robbed us of yet another form of everyday adversity that built up the character of previous generations? Perhaps, but more importantly, it may also have dried up our well of creativity. The frustration that descends on us when trying to come up with new ideas; the itch we feel, whenever we start doing something, to do something else; our inability to go more than a few minutes without looking at our phones: we can hardly assume these modern problems are unrelated.

“When you’re bored, you tend to daydream, and your mind wanders, and this is a very, very important part of the creative process,” says psychologist Sandi Mann in the animated BBC REEL video at the top of the post. “If you find that you’re stuck on a problem, or you’re really worried about something and can’t seem to find a way out, take some time out. Just be bored. Let your mind wander, and you might just find that a creative solution will pop into your head.”

But we’ve fallen into the habit of “swiping and scrolling our boredom away,” seeking “a dopamine hit from new and novel experiences” — most often digital ones — to assuage our fears of boredom. And the more such stimulation we get, the more we need, meaning that, “paradoxically, the way to deal with boredom is to allow more of it into our life.”

“Once you start daydreaming and allow your mind to really wander,” Mann says, “you start thinking a little bit beyond the conscious, a little bit into the subconscious, which allows sort of different connections to take place.” She says it in “How Boredom Can Lead to Your Most Brilliant Ideas,” a TED Talk by journalist Manoush Zomorodi. Like the public-radio podcaster she is, Zomorodi brings in interview clips from not just Mann but a range of experts on the subject of boredom and distraction, including neuroscientist Daniel Levitin, who warns that “every time you shift your attention from one thing to another, the brain has to engage a neurochemical switch that uses up nutrients in the brain to accomplish that.” And so the “multitasking” in which we once prided ourselves amounts to nothing more than “rapidly shifting from one thing to the next, depleting neural resources as you go.”

We’ve become like the experiment subjects, described in the Veritasium video above, who were asked to sit alone in an empty room for a few minutes with nothing in front of them but a button that they knew would shock them. In the end, 25 percent of the women and 60 percent of the men chose, unasked, to shock themselves, presumably out of a preference for painful stimulation over no stimulation at all. How much, we have to wonder, does that ultimately differ from the distractions we compulsively seek at every opportunity in the form of social media, games, and other addictive apps? And what do these increasingly frequent self-administered jolts do to our ability to identify promising avenues of thought and follow them all the way to their most fruitful conclusions? As the old saying goes, only the boring are bored. But if our technological lives keep going the way they’ve been going, soon only the bored will be interesting.

How Information Overload Robs Us of Our Creativity: What the Scientific Research Shows

Lynda Barry on How the Smartphone Is Endangering Three Ingredients of Creativity: Loneliness, Uncertainty & Boredom

David Lynch Explains How Meditation Boosts Our Creativity (Plus Free Resources to Help You Start Meditating)

How to Focus: Five Talks Reveal the Secrets of Concentration

Why Time Seems to Speed Up as We Get Older: What the Research Says

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

by Colin Marshall | Permalink | Make a Comment ( None ) |

John Coltrane’s “Giant Steps” & Bach’s “Prelude in C Major” Get Turned into Dazzling Musical Animations by an Artist with Synesthesia

Electronic Musician Shows How He Uses His Prosthetic Arm to Control a Music Synthesizer with His Thoughts

How Yoga Changes the Brain and May Guard Against Alzheimer’s and Dementia

Clive James & Jonathan Miller (Both RIP) Talk Together About How the Brain Works

What Is Higher Consciousness?: How We Can Transcend Our Petty, Day-to-Day Desires and Gain a Deeper Wisdom

Neuroscience & Jazz Improvisation: How Improvisation Shapes Creativity and What Happens Inside Our Brain

Neurosymphony: A High-Resolution Look into the Brain, Set to the Music of Brain Waves

The Benefits of Boredom: How to Stop Distracting Yourself and Get Creative Ideas Again

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