Journal of Multiscale Neuroscience

The question of how to learn to be more creative has recently gained heightened attention both among brain scientists and within various educational institutions, not to mention educational portals and blogs. The key research question that this paper will address is whether music and cosmic music, in particular, can stimulate creative processes in the mind while enhancing the amazing and creative workings of the brain. The current literature and numerous blogs available online on how people get new ideas abound with examples of the latest advancements in neuroscience. These aim to uncover the workings of the most complex and most mysterious object known in nature, namely, a human brain. Previous work has failed to address, however, what is the principal impact of subconsciousness on human lives and how the theory of multiple intelligences can provide for a more accurate, holistic understanding of an individual in modern society. The latest evidence indicates that the brain’s abilities are in fact malleable and plastic. According to the principle of neuroplasticity, the brain is constantly changing, developing and adapting in response to various stimuli. If true and correct, then human brain must likewise respond to cosmic music and meditation. In the end, all humans are the children of the Universe and our future is in the stars. The central question that this paper will answer, is in what specific way cosmic music can affect the workings of the mind for people to become more creative problem-solvers. It is a cosmic melody that creates interesting, new vibratory patterns in the Universe providing a proof for the truth that the Universe is a symphony of vibrating strings. These vibes can be then replayed or recreated in our brains to come up with new connections and original ideas or even ideas on ideas, the so-called meta-ideas. The bass line introduces changes in frequency, or pitch, but these are just repetitive, imitative patterns. Melodies are the ones that are completely new and original. They are the results of the changes in vibration frequencies. They introduce novel arrangements of frequencies with amplitude changes adding further light into our intuition. Melodies can both repeat and go into novel, unexpected directions providing us with better and better ideas, enhancing imagination and leading to infinity. They can move in and out of sync with the back beat and in turn, become constraints or unlimited chances for the emergence of novel vibrations and melodies of the mind. This rapid explosion of diverse melodies ends up with endless, skyrocketing possibilities as further productive improvisation leads to unbelievable levels of interactions where even a more vivid variety of infinite patterns soon begin to emerge. Theoretically, this process could go into infinity providing for the limitless number of patterns and their simultaneous multiple generations. At a first glance, repeated failures during a creative process in response to music stimuli could lead to the perception of creative frustration (He, Yao, Wang and Caughron, 2016; Sapp, 1992) that could produce a mortification of the creative attempts (Beghetto, 2014) and lower perceived self-efficacy (Baumeister and Tice, 1985). However, as some authors have shown, contrary to this stipulation, repeated creative success could generate the opposite overwhelming emotional condition, a sort of ecstasy in front of repeated achievement (Ivcevic and Brackett, 2015). In reality, the durability of this process depends on the person's prerequisite for determination to search for ikiagi, passion and inspiration. As Ivcevic and Brackett (2015: 484) noted, ''The relationship between emotion regulation ability and creativity was mediated by teacher ratings of persistence and passion.'' Perseverance is a key skill since it leads to the build-up of character and character gives hope. ''Collectively, these results provide insight into the role of emotion regulation in bridging the gap between creative disposition and behaviour.'' (Ibid.). For the purpose of this paper, creativity will be defined as changing a way of doing things, or a way of thinking. That, in turn, requires having mastered the old method of doing things. He who overcomes all weaknesses with a firm mind excels. As Confucius says, "To like learning is akin to knowledge; to put it into practice diligently is akin to benevolence; to be conscientious is akin to courage." (Cleary, 2009: 38). Only through conscientiousness can we solve predominant problems of the given era. Problems are usually solved either intuitively or systematically. Intuition is used when no new knowledge is needed - then we know enough to be able to make a quick decision solving the problem instantly, or we can use common sense or experience to do it. But the key to success is feeling. ''Our feelings are central to our learning, our intuition and our learning. They allow us to make sense of rich data sets that our rational brains are not equipped to comprehend.'' (Neumeier, 2013: 41). In fact, ''emotion is not a substitute for reason, but a partner to it. If our rational brains were deprived of emotion even the most banal decisions would become impossible.'' (Ibid.). ''Feeling is a prerequisite for the process of innovation, it powers creativity'' (Ibid.). More complex, unpredictable problems will require a more systematic, not only logical but also the abstract brain to come up with an eureka idea. For this, we will need to use creative thinking. Emotional learning leads directly to intuition, it is 'the ability to think without thinking', to arrive at a solution without the use of logic, to awaken our infinite imagination (Ibid.). Besides, complex problems need the superior processing power of the emotional, intuitive brain. Advanced problem-solving involves also having self-discipline. It is not just about consistently doing something, it is instead about systematically regulating, correcting, and adapting our behaviour to the changing conditions and circumstances of our life. Self-discipline, is, therefore, effectively about proactively training ourselves to follow a specific set of rules and standards that help shape and align our thoughts and behaviours to the task at hand. The quicker a brain can shift between analytical and holistic thinking the more complex, creative and effective the thinker becomes. Scientific studies have confirmed that listening to cosmic music increases performance in our daily tasks and improves divergent thinking. How does it impact on problem-solving skills? Music enhances the cognitive flexibility needed to come up with innovative solutions. The key here is the ability to switch between different concepts and perspectives, trying different approaches rather than coming up with unnecessarily clever ways of solving a problem. The caveat is that not always known and tested solutions are effective, therefore sometimes acquiring a fresh brain stimulated by music is more resourceful rather than seeing the problem from a rigid point of view. Sticking stiffly to our routines, to schemata and proven ways of doing things not always proves successful. Sometimes, there is a clear need for an element of surprise and an unexpected eureka moment or change of established patterns. Problem-solving skills enhanced by cosmic music, maths and a state of prepared mind or the state of flow can contribute as the essential input into the discovery process. A well-balanced brain is very achievable if we are prepared to sometimes break away with routine, do something originally and differently by regularly mixing up both hemispheres and challenging ourselves we can blow the dust out of even the creepiest of cognitive corners. People with problem-solving skills are the fuel that fires the innovation engine (Romer, 2016). That proves the point that what we do and what we accomplish in life is only a tip of the iceberg of what is actually possible for us - impossible is possible. Cosmic music can stimulate divergent thinking, which is a thought process used to generate creative ideas by exploring many possible solutions. Once we have multiple solutions we can experiment. After that, we are almost there, as through eliminating solutions that do not work we can choose one solution that will be do the job. We have to take time to critically think, do the research, analyse, evaluate etc. Investment in time, developing passion to learn and curiosity to discover are necessities. But they are worth the fruits since the painstaking process of discovery brings results. After the long process, we can reveal our novel idea. Divergent thinking typically occurs in a spontaneous, free-flowing manner, so that many ideas are generated in an emergent cognitive fashion. For many brain scientists and psychologists, this state is known as flow, the true process of discovery and invention. Then we can go with the flow and the only limitation is our imagination.

This paper aims to understand the neurobiological and anatomical explanations for human consciousness through an in depth analysis of the highly developed temporal processing centers that are associated with music. While this theory may seem to make leaps and bounds, inspiring question such as "How does me tapping my toe to a Beethoven Piano Sonata relate to my free will to make conscious decisions?" I believe there is sufficient evidence to support the fact that the gradual evolution of advanced memory and time--oriented structures in the brain, which are activated during musical engagement, are related to our ability to understand ourselves and act cogently. By noticing an asymmetry in the hemispheres of the auditory cortex through experiments with epileptic patients, one can determine that the left, linguistic portion is involved in the recognition of tempo and rhythm while the right is specialized to identify pitch based on the frequency of the sound wave entering the cochlea. The understanding of these specified musical centers of the brain lead to an experimental basis for "universals" in temporal processing in music, showing that certain psychological processes exist across cultures, age groups, and eras, therefore defining an evolved phenomenon of a linear understanding of time. Through these "universals", we can take a new approach to explaining human consciousness by upholding it as a result of the fruition of highly specialized temporal processing centers within the human brain.

Studies of Nonlinear Phenomena in Life Science, 1996

Rather than discrete things and independent events, there are but ripples upon ripples upon waves upon waves in this universe, propagating in a seamless sea.

Everything is fields, even consciousness. The conceptual structure has a fractal nesting such that, there is never any real separation but a continuous rearrangement of associations. Awareness is dependent on the levels of description associated with the nested structure. It is only irreducible to some resolution, these various components are chosen by the reticular activating system and give the awareness. At the same time another level of processing or integrated association is going on at the subconscious level, to some degree of resolution. These fractal arrangements could be acting like antennas reading fields in the quantum realm. Systems and subsystems processing: The subconscious mind processes information coming in at different cycle rates (vision has longer cycles than hearing). When presented to the conscious mind, the information is synchronized (the specious present). There are different computational geometries involved. For the subconscious mind it is probably not possible to have a maximally irreducible conceptual structure because of the holographic nature of the fractal hierarchy. Awareness would be, by necessity, a synchronization of the disparate information collected in the subconscious, a controlled illusion. We are talking about an information system in which the material expression is the arrangement of fields with many features including nested frequencies. The sensation of self (inner feelings) is part of a feedback mechanism for navigating the world, without this the organism would have no reference frame. This process exist in some form all the way down to single cell organisms and perhaps even beyond. The possible states of the system have a geometry, if the system were a guitar, how many possible states could the guitar be in? Each of the six strings can generate many overtones at various volumes as well as the body of the guitar and so, the number of states is going to be very high, no point in time would be a discrete arrangement. Just like a song, the past, the now, and the future are woven into each other. This would have to be the same for each conscious moment. The universe is one thing describing itself as an infinitely nuanced hierarchy. Computational geometry and the translation of meaning across domains. I am not looking for the answers, I'm looking for the questions. The consciousness of humanity is networked together in a domain that we do not have direct access to. Consciousness is a fractal structure, nested into a multidimensional probability space. Self organization emerges from the chaotic boundary conditions of this dynamic system. The direction of time's arrow is the breaking of the symmetry of the potential, of the boundary condition. Love only has value when given away. Freewill is the material expression of love. Systems of control limit self organization. Self organization requires the operation of freewill and branches out into the nothingness as possibilities. A perfectly symmetrical input of sensory data would essentially be random noise with no differentiation from any of your senses. So, we could say that perception creates a differentiation and all sufficiently complex events are statistically impossible, they are all one time events. In assuming this, we must add the degrees of precision the brain will use to process the data. Next the brain will add expectation values to the data to create a best

Handbook of Psychophysiology

Psychophysiology is an old idea but a new science. It is a likely assumption that ever since man began to experience himself as an object of his own awareness he has had some intuitive notion that bodily changes were, in some measure, related to his moods, his sentiments, his frustrations, his elations. How to relate these dual aspects of human functioning has been a concern of philosopherscientists throughout the course of intellectual history.