Category Archives: music

Divine transport

From this article. Now if we can only interpret trance states postmetaphysically. The religions that formed around trance states in the article, though evolutionarily adaptive at the time, have solidified into metaphysical dogma and are no longer adaptive to our world today. It though does beckon us to create postmetaphysical rituals with music, dance, invocation, incense etc. so that we can bond together via embodiment instead of just intellectually.

“So there is a need for a new idea, and coming to the fore now is an old one revisited, revised and rendered more testable. It reaches back a century to the French sociologist Émile Durkheim who observed that social activities create a kind of buzz that he called effervescence. Effervescence is generated when humans come together to make music or perform rituals, an experience that lingers when the ceremonies are over. The suggestion, therefore, is that collective experiences that are religious or religious-like unify groups and create the energy to sustain them.”

“The explanation is resurfacing in what can be called the trance theory of religious origins, which proposes that our palaeolithic ancestors hit on effervescence upon finding that they could induce altered states of consciousness. Research to test and develop this idea is underway in a multidisciplinary team led by Dunbar at the University of Oxford. The approach appeals to him, in part, because it seems to capture a crucial aspect of religious phenomena missing in suggestions about punishing gods or dangerous spirits. ‘It is not about the fine details of theology,’ Dunbar told me, ‘but is about the raw feelings of experience, and that this raw-feelings element has a transcendental mystical component – something that is only fully experienced in trance states.'”

“Dunbar believes that a few hundred thousand years ago, archaic humans took a step that ramped up this capacity. They started deliberately to make music, dance and sing. When the synchronised and collective nature of these practices became sufficiently intense, individuals likely entered trance states in which they experienced not only this-worldly splendour but otherworldly intrigue. They encountered ancestors, spirits and fantastic beasts, now known as therianthropes. These immersive journeys were extraordinarily compelling. What you might call religiosity was born. It stuck partly because it also helped to ease tensions and bond groups, via the endorphin surges produced in trance states. In other words, altered states proved evolutionarily advantageous: the awoken human desire for ecstasy simultaneously prompted a social revolution because it meant that social groups could grow to much larger sizes via the shared intensity of heightened experiences.”

“Meaning-making, the transcendent, and openness to revelation and discovery are core parts of the human niche and central to our evolutionary success. […] The trance hypothesis is neutral about the truth claims of religions whether you believe or don’t, though it does suggest that transcendent states of mind are meaningful to human beings and can evolve into religious systems of belief.”

how does music affect the brain?

The blurb:

“In this episode of Tech Effects, we explore the impact of music on the brain and body. From listening to music to performing it, WIRED’s Peter Rubin looks at how music can change our moods, why we get the chills, and how it can actually change pathways in our brains.”

For me the most interesting part was later in the video (10:20), how when we improvise we shut down the pre-frontal planning part of the brain and ‘just go with the flow,’ which is our most creative and innovation moments. This though does depend on having used the pre-frontal cortex in learning the techniques of music to get them so ingrained in memory that we are then free to play with what we’ve programmed.

We have the wrong paradigm for the complex adaptive system we are part of

This very rich, conversational thought piece asks if we, as participant designers within a complex adaptive ecology, can envision and act on a better paradigm than the ones that propel us toward mono-currency and monoculture.

We should learn from our history of applying over-reductionist science to society and try to, as Wiener says, “cease to kiss the whip that lashes us.” While it is one of the key drivers of science—to elegantly explain the complex and reduce confusion to understanding—we must also remember what Albert Einstein said, “Everything should be made as simple as possible, but no simpler.” We need to embrace the unknowability—the irreducibility—of the real world that artists, biologists and those who work in the messy world of liberal arts and humanities are familiar with.

In order to effectively respond to the significant scientific challenges of our times, I believe we must view the world as many interconnected, complex, self-adaptive systems across scales and dimensions that are unknowable and largely inseparable from the observer and the designer. In other words, we are participants in multiple evolutionary systems with different fitness landscapes at different scales, from our microbes to our individual identities to society and our species. Individuals themselves are systems composed of systems of systems, such as the cells in our bodies that behave more like system-level designers than we do.

Joichi Ito

AI Creativity

Google and others are developing neural networks that learn to recognize and imitate patterns present in works of art, including music. The path to autonomous creativity is unclear. Current systems can imitate existing artworks, but cannot generate truly original works. Human prompting and configuration are required.

Google’s Magenta project’s neural network learned from 4,500 pieces of music before creating the following simple tune (drum track overlaid by a human):

Click Play button to listen->

Is it conceivable that AI may one day be able to synthesize new made-to-order creations by blending features from a catalog of existing works and styles? Imagine being able to specify, “Write me a new musical composition reminiscent of Rhapsody in Blue, but in the style of Lynyrd Skynyrd.

There is already at least one human who could instantly play Rhapsody in Blue in Skynyrd style, but even he does not (to my knowledge) create entirely original pieces.

Original article:

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