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a number of times in the last couple of

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days a sort of a personal egoic self you

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might say i think um carlos

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monsanto you know his eye concept of i

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corresponds to this small self

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disconnected in

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from the large self i mean itself small

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self is never disconnected just

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experienced as disconnected from the the

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transcendent self

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or non local kind of aspect of self

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prone to attachments and more expansive

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heightened state um you have the union

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of self and self there's a great quote

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from um from rumi uh

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go on a journey from self to self my

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friend something like that and he

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actually i mean in the translations you

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see you see actually written with small

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self and small s and large case s

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so in this expands to say we have the

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codex coexistence of heightened

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capacities to engage with objects

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that's sort of the you know have access

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to our training yet the freedom from the

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binding relationship

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to those objects so now let's look at

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there's a there's a relationship and

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this is something that will that music

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is a kind of a time-bound

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um activity more so than many other

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fields

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there's a there's a what i think is an

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interesting relationship between time

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and consciousness

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um if we think of time as consisting as

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of point values and span values

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uh the point value corresponds to a kind

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of um

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kind of the

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time sort of ordinary consciousness time

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where we're thinking of where the

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way of thinking is that the meaning of a

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given moment is largely depending uh

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depending upon what

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comes before and what comes be it comes

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after so it's kind of a very linear sort

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of layer you might say of time

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conception there

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uh in an ordinary consciousness we're

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sort of confined to that that's sort of

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the only kind of time conception we have

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access to

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and of course condition patterns are

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very

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much lodged in this linear sequence

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in a more expansive state of

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consciousness we have access to and

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there's a very important doubt because

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sometimes people say well we sort of you

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know we're sort of we transcend the

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linear or we're oblivious to it but we

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need both

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uh in heightened consciousness we have

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access to

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that linear sequence if that's if that

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is sort of um

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uh appropriate to given kind of

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creativity that's involved at the time

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or

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we also have access to kind of an

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overarching presence

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where the sort of condition attachments

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between a moment and what becomes before

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and what follows are transcended

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so we have access to both of these

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things if we're sitting down to meditate

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um or this is sort of what could be

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thought of as kind of a span mediated uh

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experience of time if we're playing ice

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hockey and we have a number of us are

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from michigan here and our red wings are

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in the uh

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just

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entering the the stanley cup finals for

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the second time in two years and um

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you know this is ice hockey is an admit

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for instance for one thing it's an

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amazingly improvisational uh activity uh

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i mean and

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that you might call that a point

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mediated

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uh conception of time where you have

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this incredibly high density uh

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information flow in any in any given

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moment of time say as measured by the

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clock ice hockey is amazing so when your

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team is ahead with um

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you know the last not to get too much

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off on this but in the

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in the the final game in the anaheim

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series which is very tough we had four

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point seconds seven seconds on the clock

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with the face-off just outside our our

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you know we're ahead by one 4.7 seconds

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and ice hockey is an eternity in terms

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of in terms of especially when your

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team's just ahead by one uh in terms of

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what could happen

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and um

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but anyway it's it's a point mediated

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experience of time that can lead to a

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span sort of that integration of point

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and span at the same time

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and then we can go into this in music

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i'm going to try to keep this going a

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little bit because we're

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behind here

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um i have a model that came out about 10

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years ago that distinguishes sort of in

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between impropository time conception

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and composed music time conception

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now it's important emphasis these are

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both pathways the transcendence is

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misunderstood as something the

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improvisatory is sort of the

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um even though it's it's

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uh it's a involves kind of a surface

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non-linearity uh and the composition

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involves a surface linearity both of

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these can expand and they're

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according to their respective modes of

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time to this expansive state

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and

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i think i'm just going to kind of

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leave that for now except to say that

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in both in both pathways you know

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temporal pathways to transcendence we

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have conditioned patterns conditioned

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attachments manifest in different ways

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and improvisation where you have this

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moment to be sort of the time is

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directed towards the moment

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towards this sort of moment to moment

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conception

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condition patterns manifest in what i

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call inflated points because the whole

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thing is to sort of break down time

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frames and to be able to in a sense um

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experience in a given you know in what

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an ordinary consciousness would be um

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what a certain quantity of information

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that you're able to perceive to break

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that down and in that moment perceive

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more detail in that conversation so

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in ordinary consciousness improvisation

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the process is

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inhibited by inflated points in the

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compositional process what by what i

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call weak spans

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and so the question is how do we

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invoke these heightened states

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this heightened improvisatory awareness

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and receptivity to anomalous

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phenomena

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so i i think of this in terms of

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top-down and bottom-up approaches

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from a bottom-up approach it's silence

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driven or we can say from a

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standpoint of time it's span driven in

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meditation and meditation are

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sort of sort of the um the strategy is

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to

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uh experience this expansive state of

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silence and awareness

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that we with we withdraw from sort of

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the engagement with objects

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and

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top down is action driven

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where we're

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actually meaning engagement from either

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mental physical emotional sensitive

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sensory

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activity so you might say that

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scientific creativity is um a kind of

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top-down action-driven

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uh modality

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um as would be ice hockey and

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jazz

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and many many other activities

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and by the way um i i know um iman's

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barroos is um

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following me on the schedule he i really

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recommend his book um i hope he doesn't

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mind me giving him a plug here he

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probably won't his uh science as a

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spiritual practice really goes into kind

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sort of science as as a kind of

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transformational vehicle

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now in music so here's something that i

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do with my students that

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that maybe there's a parallel with in

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scientific practice in terms of

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enlivening this improvisatory heightened

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experience

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the theorist leonard meyer

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categorized musical basic musical

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elements in terms of what he called

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uh syntactic and non-syntactic elements

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syntactic elements were harmony melanie

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and rhythm

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and non-syntactic elements are sort of

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what you might call the raw materials of

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sound as manifested music that

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density and dynamics a variety of loud

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and soft

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high and low

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uh he had originally called these

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statistical parameters

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and what i do is i have my students

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create improvisations

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using

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i have them step back from the syntactic

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realm because the syntactic realm is

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where our assumptions are lodged

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and i think there is even even if it's

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kind of a loose connection there's got

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to be something in

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in different fields where you have sort

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of you have this sort of configurations

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of materials in which your assumptions

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are lodged and if we can step back from

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this

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um in what i'm calling the the

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non-syntactic realm um that might help

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us that might be the first step in

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helping us to sort of look then you sort

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of look back you step beyond the

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syntactic you look back at it with sort

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of fresh eyes so i have my students

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create improvisations i say forget about

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the key

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forget about what style of music it's in

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just i'll say

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create a piece of music that has for

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instance a variety in density that means

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a variety of like really really sparse

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low dense passages and

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really high

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intense

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a lot of node activity and what this

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does is it makes them dig into their

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musical reservoir in a very very

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different way and just deal with sort of

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a um a fresher kind of more spontaneous

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way of processing information

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and

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come out as a byproduct so you they're

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actually re-entering the syntactic realm

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but from a very different vantage point

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so the question is um

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can we identify syntactic and

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non-syntactic parameters in science and

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i kind of um

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um you know this is the subject for

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further discussion i would look forward

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to people having um ideas about this

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you know i was thinking of some of the

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controversial issues that have been

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raised i'm just you know in the ssc

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journal um

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you know henry bowers work with the hiv

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issues

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plate tectonics somebody gave a paper a

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couple of years ago on

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the second law

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and you know sort of alternatives to

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things that seem to be unassailable and

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it would seem to me that one uh you know

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the physicist arthur science talks about

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kind of an exercise where he has