Auditory Quotes

People don’t see things and hear things as objectively as they might think. The visual and auditory information that enters the mind is distorted by experiences, thoughts, circumstances, wild fancies, prejudices, preferences, knowledge, awareness, and countless other workings of the mind.

And then, in boating supplies, Margo located an air horn. She took it out of the box and held it up in the air, and I said, "No," and she said, "No what?" And I said, "No don't blow the air horn," except when I got to the b in blow, she squeezed on it and it let out an excruciatingly loud honk that felt in my head like the auditory equivalent of an aneurysm, and then she said, "I'm sorry, I couldn't hear you. What was that?" And I said, "Stop b-" and then she did it again.

Intuition comes in several forms: - a sudden flash of insight, visual or auditory - a predictive dream - a spinal shiver of recognition as something is occurring or told to you - a sense of knowing something already - a sense of deja vu - a snapshot image of a future scene or event - knowledge, perspective or understanding divined from tools which respond to the subconscious mind

Given her deafness, the auditory part of the brain, deprived of its usual input, had started to generate a spontaneous activity of its own, and this took the form of musical hallucinations, mostly musical memories from her earlier life. The brain needed to stay incessantly active, and if it was not getting its usual stimulation..., it would create its own stimulation in the form of hallucinations.

Pierce made a calculating noise, accidentally brushing my knee as he shifted. "As Jenks would say, you snore nice." I smiled back unconvincingly. I snore nice. Not "I opine that your auditory nasal exhalations are most pleasing.

The symptomatology of PTSD. In PTSD a traumatic event is not remembered and relegated to one's past in the same way as other life events. Trauma continues to intrude with visual, auditory, and/or other somatic reality on the lives of its victims. Again and again they relieve the life-threatening experiences they suffered, reacting in mind and body as though such events were still occurring. PTSD is a complex psychobiological condition.

The visual and auditory information that enters the mind is distorted by experiences, thoughts, circumstances, wild fancies, prejudices, preferences, knowledge, awareness, and countless other workings of the mind.

There are objects made up of two sense elements, one visual, the other auditory—the colour of a sunrise and the distant call of a bird. Other objects are made up of many elements—the sun, the water against the swimmer's chest, the vague quivering pink which one sees when the eyes are closed, the feeling of being swept away by a river or by sleep. These second degree objects can be combined with others; using certain abbreviations, the process is practically an infinite one. There are famous poems made up of one enormous word, a word which in truth forms a poetic object, the creation of the writer. The fact that no one believes that nouns refer to an actual reality means, paradoxically enough, that there is no limit to the numbers of them.

Dyslexia is the affliction of a frozen genius.

I have no auditory depth perception. She said, “I love you,” and I couldn’t even tell if she was 300 miles away, or 6 feet below my feet and 300 years away.

Words are born in thought, leaving lips, they acquire soul in the ears, yet sometimes this auditory magic does not make it as far as the mouth because it is swallowed dry.

Legend claimed Berserkers could move with such speed that they seemed invisible to the human eye until the moment they attacked. They possessed unnatural senses: the olfactory acuity of a wolf, the auditory sensitivity of a bat, the strength of twenty men, the penetrating eyesight of an eagle. The Berserkers had once been the most fearless and feared warriors ever to walk Scotland nearly seven hundred years ago. They had been Odin's elite Viking army. Legend claimed they could assume the shape of a wolf or a bear as easily as the shape of a man. And they were marked by a common feature-unholy blue eyes that glowed like banked coals.

But a book? You go into it. There’s no visual or auditory other than what forms in your own mind. You visualize the characters, the scene, through the words. You, as reader, interpret the tone of voice, the colors, the movement as you physically turn the pages.

Programming is the act of installing internal, pre-established reactions to external stimuli so that a person will automatically react in a predetermined manner to things like an auditory, visual or tactile signal or perform a specific set of actions according to a date and/or time.

Pop music is like an auditory cup of coffee. It has no nutritional value but it gets you going.

The overwhelming noise we live with has made a fundamental pleasure like sex somehow less exciting, less satisfying, than it was for our libidinous forefathers and mothers. It seems to me that for sex and other pleasures to be enjoyed to the fullest, a certain contemplative quality to life must be present. If you doubt this imagine yourself for a moment having sex. Now imagine you wished to increase the pleasure you were feeling, feel it more intensely. What might you do? Well one of the things you'd probably do is close your eyes. What this does of course is shut out other stimuli. The visual quiet increases your sensual enjoyment and you concentrate more fully on the pleasure. The same is true for the removal of auditory noise as well. Well my feeling is that the average person has a much harder time doing this today than they would have decades ago. Today you close your eyes and shut off Television but the noise persists. It's part of our fabric now, our biology, and all other pleasures including sex are diminished as a result. We don't notice this derogation by the way and sex still feels great, don't get me wrong, but I think the difference is there nonetheless. Like the difference between seeing breasts when you're thirty as opposed to when you were thirteen.

Dyslexia, for me, is rather like being a six-fingered typist on LSD!

I'm not even capable of an auditory response; my vocal cords have shorted out and my jaw has dropped to the floor. Raunch-y.

as your heart rate goes up, your tunnel vision can get narrower and your auditory exclusion can increase.)

In truth, Jude suspected that Danny had no particular musical preferences, no strong likes or dislikes, and that the radio was just background sound, the auditory equivalent of wallpaper.

Professional musicians, in general, possess what most of us would regard as remarkable powers of musical imagery. Many composers, indeed, do not compose initially or entirely at an instrument but in their minds. There is no more extraordinary example of this than Beethoven, who continued to compose (and whose compositions rose to greater and greater heights) years after he had become totally deaf. It is possible that his musical imagery was even intensified by deafness, for with the removal of normal auditory input, the auditory cortex may become hypersensitive, with heightened powers of musical imagery (and sometimes even auditory hallucinations).

Someone was playing the piano and, as she concentrated, Olivia realised she recognised Chopin's 'Grande Polonaise'. She stood up and left the library, following the direction of the music, letting her auditory senses lead her eventually to the doorway of the drawing room. She stood where she was, listening to the exquisite rendition of one of her favourite pieces, closing her eyes as the sound emanated from the piano at the other end of the room. (...) Olivia gasped in astonishment when she saw it was Harry.

A vid comes to you, even at you. It’s visual, it’s auditory, and can, of course, pull you in. Its purpose is to do just that, draw you into the world you see and hear. But a book? You go into it. There’s no visual or auditory other than what forms in your own mind. You visualize the characters, the scene, through the words. You, as reader, interpret the tone of voice, the colors, the movement as you physically turn the pages.

Sight isolates, sound incorporates. Whereas sight situates the observer outside what he views, at a distance, sound pours into the hearer. Vision dissects, as Merleau-Ponty has observed (1961). Vision comes to a human being from one direction at a time: to look at a room or a landscape, I must move my eyes around from one part to another. When I hear, however, I gather sound simultaneously from every directions at once; I am at the center of my auditory world, which envelopes me, establishing me at a kind of core of sensation and existence... You can immerse yourself in hearing, in sound. There is no way to immerse yourself similarly in sight. By contrast with vision, the dissecting sense, sound is thus a unifying sense. A typical visual ideal is clarity and distinctness, a taking apart. The auditory ideal, by contrast, is harmony, a putting together. Interiority and harmony are characteristics of human consciousness. The consciousness of each human person is totally interiorized, known to the person from the inside and inaccessible to any other person directly from the inside. Everyone who says 'I' means something different by it from what every other person means. What is 'I' to me is only 'you' to you... In a primary oral culture, where the word has its existence only in sound... the phenomenology of sound enters deeply into human beings' feel for existence, as processed by the spoken word. For the way in which the word is experienced is always momentous in psychic life.

A network can be destroyed by noises that attack and transform it, if the codes in place are unable to normalize and repress them. Although the new order is not contained in the structure of the old, it is nonetheless not a product of chance. It is created by the substitution of new differences for the old differences. Noise is the source of these mutations in the structuring codes. For despite the death it contains, noise carries order within itself; it carries new information. This may seem strange. But noise does in fact create a meaning: first, because the interruption of a message signifies the interdiction of the transmitted meaning, signifies censorship and rarity; and second, because the very absence of meaning in pure noise or in the meaningless repetition of a message, by unchanneling auditory sensations, frees the listener’s imagination. The absence of meaning is in this case the presence of all meanings, absolute ambiguity, a construction outside meaning. The presence of noise makes sense, makes meaning. It makes possible the creation of a new order on another level of organization, of a new code in another network.

Some sounds are so exquisite - far more exquisite than anything seen. Daff's purr there on my rug, for instance - and the snap and crackle of the fire - and the squeaks and scrambles of mice that are having a jamboree behind the wainscot.

You are the only member of this Sleepwalker team with formal medical training, Specialist Yorrik. "Wry self-deprecation: I am a pediatric allergist. Auditory, olfactory, esophageal." Anax Therion and Senna stared at him. "In sheepish explanation: Ear, nose, and throat. I do sniffles.

Because memory…is everything. Physically speaking, a memory is nothing but a specific combination of neurons firing together—a symphony of neural activity. But in actuality, it’s the filter between us and reality. You think you’re tasting this wine, hearing the words I’m saying, in the present, but there’s no such thing. The neural impulses from your taste buds and your ears get transmitted to your brain, which processes them and dumps them into working memory—so by the time you know you’re experiencing something, it’s already in the past. Already a memory.” Helena leans forward, snaps her fingers. “Just what your brain does to interpret a simple stimulus like that is incredible. The visual and auditory information arrive at your eyes and ears at different speeds, and then are processed by your brain at different speeds. Your brain waits for the slowest bit of stimulus to be processed, then reorders the neural inputs correctly, and lets you experience them together, as a simultaneous event—about half a second after what actually happened. We think we’re perceiving the world directly and immediately, but everything we experience is this carefully edited, tape-delayed reconstruction.

There’s a lot of scientific evidence demonstrating that focused attention leads to the reshaping of the brain. In animals rewarded for noticing sound (to hunt or to avoid being hunted, for example), we find much larger auditory centers in the brain. In animals rewarded for sharp eyesight, the visual areas are larger. Brain scans of violinists provide more evidence, showing dramatic growth and expansion in regions of the cortex that represent the left hand, which has to finger the strings precisely, often at very high speed. Other studies have shown that the hippocampus, which is vital for spatial memory, is enlarged in taxi drivers. The point is that the physical architecture of the brain changes according to where we direct our attention and what we practice doing.

For example, during studies focused on interpreting meaning it was found that continued focus on the meaning in words (which uses visual, auditory, and feeling senses) enhances the future ability to determine meaning irrespective of the medium conveying it. However if the focus is shifted to classifying letters by shape (which restricts the sensory modality to the visual only), the ability to determine meaning decreases. In other words, focus on form inhibits the ability to determine the meanings that underlie form.

For, to be woken up at five in the morning by the devotional treacle of Anup Jalota, Hari Om Sharan and other confectioners, all of them simultaneously droning out from several different cassette players; to be relentlessly assaulted for the rest of the day and most of the night by the alternately over-earnest and insolent voices of Kumar Sanu, Alisha Chinoy, Baba Sehgal singing 'Sexy, Sexy, Sexy', and 'Ladki hai kya re baba', 'Sarkaye leyo khatiya' and other hideous songs; to have them insidiously leak into your memory and become moronic refrains running over and over again in your mind; to have your environment polluted and your day destroyed in this way was to know a deepening rage, an impulse to murder, and, finally, a creeping fear at one's own dangerous level of derangement. It was to understand the perfectly sane people you read about in the papers, who suddenly explode into violence one fine day; it was to conceive a lasting hatred for the perpetrators, rich or poor, of these auditory atrocities. (on why he left Varanasi after a few days)

A Beautiful Mind”, was, he said, “helpful” in changing attitudes towards mental illness, albeit inaccurate: he had auditory, not visual hallucinations.

The cumulative effect was a whisper of such insidious subtlety that it almost seemed to arise within her head, less like a real sound than like an auditory hallucination.

give indication that the process is continuing, as humans quickly grow bored without auditory stimulation.

We need to think of imagination not as the faculty that produces visual or auditory images but as a combination of novelty and luck.

115 BPM Fine motor skills deteriorate 145+ BPM Complex motor skills deteriorate 175+ BPM “A warrior can expect to experience auditory exclusion or loss of peripheral vision and depth perception. This initiates a catastrophic failure of cognitive processing capabilities, leading to fatal increases in reaction time or hypervigilance (freezing in place or irrational acts).” p.7-8

It was a music of the spirit, seeking peace, not emotional release, expressing the hunger of the soul rather than the heart. A way of sequencing notes so ancient it might be music's mother lode, its Fertile Crescent. It wouldn't have grated, I felt, on the ears of ancient Greeks or Egyptians or Mesopotamians or Sumerians—or even on the august auditory equipment of the Buddha or Lao-tzu.

auditory processing issues: difficulty understanding spoken language, often experienced as a delay between hearing spoken words and being able to process those audio sounds into recognizable words .

The brain’s auditory cortex, for instance, processes an audio signal from your ear faster than a visual signal is processed in the visual cortex. The difference is around 40 milliseconds, which is not much, but enough to justify using a gun for starting a race, instead of a light flash. The faster audio processing speed means that sprint runners react more quickly to a bang than to a flash of light.

I was extraordinarily confused, because the one thing happening in my universe was Mr. Jiminez writing on the blackboard, and I couldn’t fathom how he could be both an auditory and a visual presence in my life.

Visual receptors in the brain outnumber auditory receptors 30:1.32 In other words, the chances of a word (or sentence) being retained in our memory bank are thirty times greater if we see it instead of just hear it.

In the human species, the peak of synaptic overproduction ends around two years of age in the visual cortex, three or four years of age in the auditory cortex, and between five and ten years of age in the prefrontal cortex.

Possibly the most compelling reason for use of the expressive arts in trauma work is the sensory nature of the arts themselves; their qualities involve visual, tactile, olfactory, auditory, vestibular, and proprioceptive experiences.

All that happens in the human brain is but the result of electro-chemical reactions. Be it of love, hate, of pleasure, of suffering, of imagination, or all other states of mind, sentiment or sickness; the process depends in every case on the chemical reactions produced in the interior of the brain, and the resulting electrical impulses or messages, be they visual, auditory, based on memory, or an interpretation of new events based on elements that one has in the memory.

We view a depressed upper-class woman from a stable family background dealing with depression as “having the blues,” while the homeless woman on the street corner battling auditory hallucinations is a thing to be feared, a threatening monster. Not a person in need of help. Not someone with thoughts, dreams, fears, and needs of their own. Not a fully formed human being with agency and identity, suffering from an illness and doing their best to function as well as they can.

SCP-3125 is a five-dimensional anomalous metastasized mass of bad memes and bad antimemes and everything in between, seeping through to our physical reality. It isn't coherent and it isn't intelligent. It can't communicate. This is an auditory hallucination.

This is cool I have my Autism profile (information processing - visual, verbal, auditory, body, context blindnesses/deafnesses etc) and my Personhood which is Idiosyncratic/Solitary/Emotional personality traits these come from different places but "hold hands" personhood and Autism are different entities and can be separated in terms of context, understanding (differences between ASD and Personality) but they're within one person and I would always want to seen as someone for their personhood rather than my Autism.

learning styles Visual — learn best by seeing Auditory — learn best by hearing Tactile — learn best by doing Oral — learn best by saying Social — learn best in groups Logical — learn best in linear process Imaginative — learn best through art, story, and image

In one of the moments when my father was feeling especially righteous about his “Muslim-ness,” I overheard him expressing concern to my mother that the YMCA, which was after all the Young Men’s Christian Association, was teaching us Christian songs. “Do you think they are trying to teach Christianity to our kids?” he asked, the tone of his voice a kind of auditory chest thumping. “I hope so,” my mother responded. “I hope they teach the kids Jewish and Hindu songs, too. That’s the kind of Muslims we want our kids to be.

Although my speaking will reflect the grace and mercy I've been offered and humbly accepted, I don't have to say much because words only go so far. At the end of the day, it will not be the year of my birth or the year of my death that will matter; it will be that hyphen in the midst of it all that will display how I lived my life; will tell a full and complete story; will say more than my mouth could utter. My actions, my trials, my triumphs, my defeats, my victories - my life will preach louder than an auditory testimony ever could. I am working on the person I want to remember.

Grace was pouring out everywhere, from hidden sounds, into Els's damaged auditory cortex. And all that secret, worldwide composition said the same thing: listen closer, listen smaller, listen lighter, to any noise at all, and hear what the world will still sound like, long after your concert ends.

If we think of eroticism not as sex per se, but as a vibrant, creative energy, it’s easy to see that Stephanie’s erotic pulse is alive and well. But her eroticism no longer revolves around her husband. Instead, it’s been channeled to her children. There are regular playdates for Jake but only three dates a year for Stephanie and Warren: two birthdays, hers and his, and one anniversary. There is the latest in kids’ fashion for Sophia, but only college sweats for Stephanie. They rent twenty G-rated movies for every R-rated movie. There are languorous hugs for the kids while the grown-ups must survive on a diet of quick pecks. This brings me to another point. Stephanie gets tremendous physical pleasure from her children. Let me be perfectly clear here: she knows the difference between adult sexuality and the sensuousness of caring for small children. She, like most mothers, would never dream of seeking sexual gratification from her children. But, in a sense, a certain replacement has occurred. The sensuality that women experience with their children is, in some ways, much more in keeping with female sexuality in general. For women, much more than for men, sexuality exists along what the Italian historian Francesco Alberoni calls a “principle of continuity.” Female eroticism is diffuse, not localized in the genitals but distributed throughout the body, mind, and senses. It is tactile and auditory, linked to smell, skin, and contact; arousal is often more subjective than physical, and desire arises on a lattice of emotion. In the physicality between mother and child lie a multitude of sensuous experiences. We caress their silky skin, we kiss, we cradle, we rock. We nibble their toes, they touch our faces, we lick their fingers, let them bite us when they’re teething. We are captivated by them and can stare at them for hours. When they devour us with those big eyes, we are besotted, and so are they. This blissful fusion bears a striking resemblance to the physical connection between lovers. In fact, when Stephanie describes the early rapture of her relationship with Warren—lingering gazes, weekends in bed, baby talk, toe-nibbling—the echoes are unmistakable. When she says, “At the end of the day, I have nothing left to give,” I believe her. But I also have come to believe that at the end of the day, there may be nothing more she needs. All this play activity and intimate involvement with her children’s development, all this fleshy connection, has captured Stephanie’s erotic potency to the detriment of the couple’s intimacy and sexuality. This is eros redirected. Her sublimated energy is displaced onto the children, who become the centerpiece of her emotional gratification.

The first thing you need to know if you are a survivor is that parts of you have probably been trained to create a variety of symptoms and behaviours. Abusers actually train child parts to cut the body, to make other parts cut, to attempt suicide, to create flashbacks by releasing pieces of visual or auditory memories, to create body memories of pain or electroshock, and to create depression, terror, anxiety, and despair by releasing the emotional components of memories to the rest of the personality system. The front person and most of the rest of the system do not know that this is the source of these feelings and behaviours. p126

We need to think of imagination not as the faculty that produces visual or auditory images but as a combination of novelty and luck. To be imaginative, as opposed to being merely fantastical is to do something new and to be lucky enough to have that novelty be adopted by one's fellow humans, incorporated into their social practices.

Not writing is never an option. This is not words of advice. It's just literally never an option!

Barry was a nice guy. But I realized we weren’t connecting. What I had thought was a relationship was actually auditory masturbation; I served as an audience to Barry’s conversation with himself. What an empty experience! If unsafe people are self-centered, safe people are relationship-centered. And that priority shows itself in the all-important action of empathy.

LeDoux and others have shown how auditory information about the tone stimulates BLA neurons. At first, activation of those neurons is irrelevant to the central amygdala (whose neurons are destined to activate following the shock). But with repeated coupling of tone with shock, there is remapping and those BLA neurons acquire the means to activate the central amygdala.fn16

They like to say everybody’s about six degrees Fahrenheit from hallucinating.” (Auditory hallucinations, the symptom most associated with serious mental illness, are actually quite common in the general population—as widespread as left-handedness, some studies say. A host of medical conditions can induce them: high fevers, of course, but also hearing loss, epilepsy, alcohol withdrawal, bereavement, and intense stress.

Have you ever heard people say, “I know the face, but I can’t remember the name...?” You never hear people say, “The face is on the tip of my tongue”. We remember faces because they form an image in our mind. The names don’t normally ‘stick’ because we try to remember it with our auditory memory or our little voice. It doesn’t make sense to try to stick a sound to a vision – of course it won’t stick. Plus, auditory memories are never as solid as visual memories.

We could paraphrase "repent and believe" with "close your ears and listen." Obedience has both a stop and start to it. We turn our backs to the old voices and offer our attention to Jesus' voice. We desire for God's voice to crescendo in our lives, with the competing voices fading away. This means that we must ruthlessly silence the calls of other masters. We confess our auditory rebellions to others, since somehow moving the jaw in confession seems to unplug our ears.

One cannot deny that Duruflé's improvisations and compositions had their source and their summit in a climate of belief. And to that extent it may be said that his work as a liturgical organist 'becomes a real meditation. There is not merely a an auditory delight, as refined as it might be, and God knows that Maurice Duruflé was refined, but an interior elevation that disposes the heart and spirit of others to the the infinite encounter, to the radiance of divine contact.

to, and some like the engineer never do get comfortable with them and use the less garish auditory side-doors; and the abundant sulcus-fissures and gyrus-bulges of the slick latex roof make rain-drainage complex and footing chancy at best, so there’s not a whole lot of recreational strolling up here, although a kind of safety-balcony of skull-colored polybutylene resin, which curves around the midbrain from the inferior frontal sulcus to the parietooccipital sulcus—a halo-ish ring at the level of like eaves, demanded by the Cambridge Fire Dept. over the heated pro-mimetic protests of topological Rickeyites over in the Architecture Dept. (which the M.I.T. administration, trying to placate Rickeyites and C.F.D. Fire Marshal both, had had the pre-molded resin injected with dyes to render it the distinctively icky brown-shot off-white of living skull, so that the balcony resembles at once corporeal bone and numinous aura)—which balcony means that

Axonal remapping in blind or deaf individuals is great, exciting, and moving. It’s cool that your hippocampus expands if you drive a London cab. Ditto about the size and specialization of the auditory cortex in the triangle player in the orchestra. But at the other end, it’s disastrous that trauma enlarges the amygdala and atrophies the hippocampus, crippling those with PTSD. Similarly, expanding the amount of motor cortex devoted to finger dexterity is great in neurosurgeons but

wheelchair-accessible front ramp, take a bit of getting used to, and some like the engineer never do get comfortable with them and use the less garish auditory side-doors; and the abundant sulcus-fissures and gyrus-bulges of the slick latex roof make rain-drainage complex and footing chancy at best, so there’s not a whole lot of recreational strolling up here, although a kind of safety-balcony of skull-colored polybutylene resin, which curves around the midbrain from the inferior frontal sulcus to the parietooccipital sulcus—a halo-ish ring at the level of like eaves, demanded by the Cambridge Fire Dept. over the heated pro-mimetic protests of topological Rickeyites over in the Architecture Dept. (which the M.I.T. administration, trying to placate Rickeyites and C.F.D. Fire Marshal both, had had the pre-molded resin injected with dyes to render it the distinctively icky brown-shot off-white of living skull, so that the balcony resembles at once corporeal bone and

The emergence of self-organized ecoranges generates the potential for highly adaptable responses to environmental perturbations that might affect that ecorange. Within that system, all the plants are continually communicating with each other, sending chemical communications along the mycelial network to other plants in the community. (Plants also speak using auditory signals through a complex sound-based language that is far more ancient than the human though it exists in a much subtler sound spectrum than our own.)

And this one is relatively common: iatrophobia, or fear of doctors. Or gynophobia, which is fear of women, and naturally only afflicts only men. Very widespread in Mexico, although it manifests itself in different ways. Isn't that a slight exaggeration? Not a bit: almost all Mexican men are afraid of women. I don't know what to say to that, said Juan de Dios Martínez. Then there are two fears that are really very romantic: ombrophobia and thalassophobia, or fear of rain and fear of the sea. And two others with a touch of the romantic: anthophobia, or fear of flowers, and dendrophobia, fear of trees. Some Mexican men may be gynophobes, said Juan de Dios Martínez, but not all of them, it can't be that bad. What do you think optophobia is? asked the director. Opto, opto, something to do with the eyes, my God, fear of the eyes? Even worse: fear of opening the eyes. In a figurative sense, that's the answer to what you just said about gynophobia. In a literal sense, it leads to violent attacks, loss of consciousness, visual and auditory hallucinations, and generally aggressive behavior.

The only sounds here were lazy, ponderous, gentle sounds. A bee hung low in the warm afternoon haze, and he watched it unafraid, listened to the dull electric razor sound of its wings cutting the air. Birds sang sweet and unseen, and a hundred eyes watched him from the dark.

Again as during fetal development, synapses that underlie cognitive and other abilities stick around if they’re used but wither if they’re not. The systematic elimination of unused synapses, and thus unused circuits, presumably results in greater efficiency for the neural networks that are stimulated—the networks that support, in other words, behaviors in which the adolescent is actively engaged. Just as early childhood seems to be a time of exquisite sensitivity to the environment (remember the babies who dedicate auditory circuits only to the sounds of their native language, eliminating those for phonemes that they do not hear), so may adolescence. The teen years are, then, a second chance to consolidate circuits that are used and prune back those that are not—to hard-wire an ability to hit a curve ball, juggle numbers mentally, or turn musical notation into finger movements almost unconsciously. Says Giedd, “Teens have the power to determine their own brain development, to determine which connections survive and which don’t, [by] whether they do art, or music, or sports, or videogames.

When a boy grows up in a “dysfunctional” family (perhaps there is no other kind of family), his interior warriors will be killed off early. Warriors, mythologically, lift their swords to defend the king. The King in a child stands for and stands up for the child’s mood. But when we are children our mood gets easily overrun and swept over in the messed-up family by the more powerful, more dominant, more terrifying mood of the parent. We can say that when the warriors inside cannot protect our mood from being disintegrated, or defend our body from invasion, the warriors collapse, go into trance, or die. The inner warriors I speak of do not cross the boundary aggressively; they exist to defend the boundary. The Fianna, that famous band of warriors who defended Ireland’s borders, would be a model. The Fianna stayed out all spring and summer watching the boundaries, and during the winter came in. But a typical child has no such protection. If a grown-up moves to hit a child, or stuff food into the child’s mouth, there is no defense—it happens. If the grown-up decides to shout, and penetrate the child’s auditory boundaries by sheer violence, it happens. Most parents invade the child’s territory whenever they wish, and the child, trying to maintain his mood by crying, is simply carried away, mood included. Each child lives deep inside his or her own psychic house, or soul castle, and the child deserves the right of sovereignty inside that house. Whenever a parent ignores the child’s sovereignty, and invades, the child feels not only anger, but shame. The child concludes that if it has no sovereignty, it must be worthless. Shame is the name we give to the sense that we are unworthy and inadequate as human beings. Gershen Kauffman describes that feeling brilliantly in his book, Shame, and Merle Fossum and Marilyn Mason in their book, Facing Shame, extend Kauffman’s work into the area of family shame systems and how they work. When our parents do not respect our territory at all, their disrespect seems overwhelming proof of our inadequacy. A slap across the face pierces deeply, for the face is the actual boundary of our soul, and we have been penetrated. If a grown-up decides to cross our sexual boundaries and touch us, there is nothing that we as children can do about it. Our warriors die. The child, so full of expectation of blessing whenever he or she is around an adult, stiffens with shock, and falls into the timeless fossilized confusion of shame. What is worse, one sexual invasion, or one beating, usually leads to another, and the warriors, if revived, die again. When a boy grows up in an alcoholic family, his warriors get swept into the river by a vast wave of water, and they struggle there, carried downriver. The child, boy or girl, unprotected, gets isolated, and has more in common with snow geese than with people.

An Organizing Principle for Cerebral Function.” In this paper, Mountcastle points out that the neocortex is remarkably uniform in appearance and structure. The regions of cortex that handle auditory input look like the regions that handle touch, which look like the regions that control muscles, which look like Broca’s language area, which look like practically every other region of the cortex. Mountcastle suggests that since these regions all look the same, perhaps they are actually performing the same basic operation! He proposes that the cortex uses the same computational tool to accomplish everything it does.

I have auditory processing challenges. I often don’t catch what is said and I’m always asking people to repeat themselves. People whispering in a lecture would drive me crazy and I’d have to get up and move somewhere else! She is highly sensitive. She dislikes fireworks, balloons popping, vacuums, and too many people talking. She would say the noise hurts her and makes her feel sick. She hears things more loudly, sees things more clearly and feels things much more than others do. She also can hear what everybody is saying in the house, so we really have to watch what we say! – Siblings of highly sensitive person

LeDoux and others have shown how auditory information about the tone stimulates BLA neurons. At first, activation of those neurons is irrelevant to the central amygdala (whose neurons are destined to activate following the shock). But with repeated coupling of tone with shock, there is remapping and those BLA neurons acquire the means to activate the central amygdala.fn16 BLA neurons that respond to the tone only once conditioning has occurred would also have responded if conditioning instead had been to a light. In other words, these neurons respond to the meaning of the stimulus, rather than to its specific modality.

Then one day this very quote from Epictetus—about everything having two handles—occurred to him. “I took hold now by the other handle,” he related later, “and carried on.” He actually began to have a good time there. He focused on his recovery with real enthusiasm. “I suddenly found it wonderful, strange, and beautiful, to be sober. . . . It was as if a veil, or scum, or film had been stripped from all things visual and auditory.” It’s an experience shared by many addicts when they finally stop doing things their way and actually open themselves to the perspectives and wisdom and lessons of those who have gone before them.

Others at such times simply hear their “other” voice. There are, indeed, not a few people who are well aware that they possess a sort of inner critic or judge who immediately comments on everything they say or do. Insane people hear this voice directly as auditory hallucinations. But normal people too, if their inner life is fairly well developed, are able to reproduce this inaudible voice without difficulty, though as it is notoriously irritating and refractory it is almost always repressed. Such persons have little difficulty in procuring the unconscious material and thus laying the foundation of the transcendent function.

Physiological confirmation of such “filling in” by involuntary musical imagery has recently been obtained by William Kelley and his colleagues at Dartmouth, who used functional MRI to scan the auditory cortex while their subjects listened to familiar and unfamiliar songs in which short segments had been replaced by gaps of silence. The silent gaps embedded in familiar songs were not consciously noticed by their subjects, but the researchers observed that these gaps “induced greater activation in the auditory association areas than did silent gaps embedded in unknown songs; this was true for gaps in songs with lyrics and without lyrics.

It is possible, just as it is with the auditory training of musicians, to begin using the feeling sense actively. This will increase neuronal development in the hippocampal and the cardiovascular (heart) system and with practice, over time, increase sensitivity to tiny modulations in that sensory flow. Sensitivity to the tiniest shifts in feeling will develop, just as they do in musicians with sound complexes. And, with experience, the ability to determine the meanings inside those feelings will become a reliable skill. In other words, it becomes possible to immediately know the intent of the dog as soon as it is seen/nonkinesthetically felt.

Chronic abuse and neglect in childhood interfere with the proper wiring of sensory-integration systems. In some cases this results in learning disabilities, which include faulty connections between the auditory and word-processing systems, and poor hand-eye coordination. As long as they are frozen or explosive, it is difficult to see how much trouble the adolescents in our residential treatment programs have processing day-to-day information, but once their behavioral problems have been successfully treated, their learning disabilities often become manifest. Even if these traumatized kids could sit still and pay attention, many of them would still be handicapped by their poor learning skills.22

The prefrontal cortex is a convergence zone. It receives connections from various specialized systems (like the visual and auditory sensory systems), enabling it to be aware of what's going on in the outside world and to integrate the information it gathers. It also receives connections from the hippocampus and other cortical areas involved in long-term explicit memory, allowing it to retrieve stored information (facts, personal experiences, schemata) relevant to the task at hand. In addition, it sends connections to areas involved in movement control (including movement-control areas in the frontal cortex as well as in subcortical regions), allowing executive decisions to be turned into voluntary actions.

Ms. Mori offered me her cheek to kiss and Sonny offered me his hand to shake. He showed me the door and I slid home through the cool sheets of night and into my own bed, Bon asleep and hovering above me in his rack. I closed my eyes and, after a spell of darkness, floated on my mattress across a black river to the foreign country that needed no passport to visit. Of its many gnomic features and shady denizens I now recall only one, my mind wiped clean except for this fatal fingerprint, an ancient kapok tree that was my final resting place and on whose arthritic bark I laid my cheek. I was almost asleep within my sleep when I gradually understood that the knot of gnarled wood on which my ear rested was actually an ear itself, curled and stiff, the wax of its auditory history encrusted in the green moss of its twisted canal. Half of the kapok tree towered above me, half was invisible below me in the rooted earth, and when I looked up I saw not just one ear but many ears swelling from the bark of its thick trunk, hundreds of ears listening and having listened to things I could not hear, the sight of those ears so horrible it hurled me back into the black river. I woke drenched and gasping, clutching the sides of my head. Only after I kicked off the damp sheets and looked under the pillow could I lie down again, trembling. My heart still beat with the force of a savage drummer, but at least my bed was not littered with amputated ears.

Remapping occurs regularly throughout the brain in the absence of injury. My favorite examples concern musicians, who have larger auditory cortical representation of musical sounds than do nonmusicians, particularly for the sound of their own instrument, as well as for detecting pitch in speech; the younger the person begins being a musician, the stronger the remapping.15 Such remapping does not require decades of practice, as shown in beautiful work by Alvaro Pascual-Leone at Harvard.16 Nonmusician volunteers learned a five-finger exercise on the piano, which they practiced for two hours a day. Within a few days the amount of motor cortex devoted to the movement of that hand expanded, but the expansion lasted less than a day without further practice. This expansion was probably “Hebbian” in nature, meaning preexisting connections transiently strengthened after repeated use.

Grab Bag of Questions for Coach and Coachee Who has given you feedback well? What was helpful about how they did it? Have you ever gotten good advice that you rejected? Why? Have you ever received good advice that you took years later? What motivates you? What disheartens you? What’s your learning style? Visual, auditory, big picture, detail oriented? What helps you hear appreciation? What’s something you wish you were better at? Whose feedback-receiving skills do you admire? What did your childhood and family teach you about feedback and learning? What did your early job experiences teach you? What’s the role of time/stages? What’s the role of mood and outlook? What’s the role of religion or spirituality? What has been the impact of major life events? Getting married? Getting laid off or fired? Having children? Death of a parent? What do you dislike most about coaching? About evaluation? What helps you change?

Sound waves, regardless of their frequency or intensity, can only be detected by the Mole Fly’s acute sense of smell—it is a little known fact that the Mole Fly’s auditory receptors do not, in fact, have a corresponding center in the brain designated for the purposes of processing sensory stimuli and so, these stimuli, instead of being siphoned out as noise, bypass the filters to be translated, oddly enough, by the part of the brain that processes smell. Consequently, the Mole Fly’s brain, in its inevitable confusion, understands sound as an aroma, rendering the boundary line between the auditory and olfactory sense indistinguishable. Sounds, thus, come in a variety of scents with an intensity proportional to its frequency. Sounds of shorter wavelength, for example, are particularly pungent. What results is a species of creature that cannot conceptualize the possibility that sound and smell are separate entities, despite its ability to discriminate between the exactitudes of pitch, timbre, tone, scent, and flavor to an alarming degree of precision. Yet, despite this ability to hyper-analyze, they lack the cognitive skill to laterally link successions of either sound or smell into a meaningful context, resulting in the equivalent of a data overflow. And this may be the most defining element of the Mole Fly’s behavior: a blatant disregard for the context of perception, in favor of analyzing those remote and diminutive properties that distinguish one element from another. While sensory continuity seems logical to their visual perception, as things are subject to change from moment-to-moment, such is not the case with their olfactory sense, as delays in sensing new smells are granted a degree of normality by the brain. Thus, the Mole Fly’s olfactory-auditory complex seems to be deprived of the sensory continuity otherwise afforded in the auditory senses of other species. And so, instead of sensing aromas and sounds continuously over a period of time—for example, instead of sensing them 24-30 times per second, as would be the case with their visual perception—they tend to process changes in sound and smell much more slowly, thereby preventing them from effectively plotting the variations thereof into an array or any kind of meaningful framework that would allow the information provided by their olfactory and auditory stimuli to be lasting in their usefulness. The Mole flies, themselves, being the structurally-obsessed and compulsive creatures that they are, in all their habitual collecting, organizing, and re-organizing of found objects into mammoth installations of optimal functional value, are remarkably easy to control, especially as they are given to a rather false and arbitrary sense of hierarchy, ascribing positions—that are otherwise trivial, yet necessarily mundane if only to obscure their true purpose—with an unfathomable amount of honor, to the logical extreme that the few chosen to serve in their most esteemed ranks are imbued with a kind of obligatory arrogance that begins in the pupal stages and extends indefinitely, as they are further nurtured well into adulthood by a society that infuses its heroes of middle management with an immeasurable sense of importance—a kind of celebrity status recognized by the masses as a living embodiment of their ideals. And yet, despite this culture of celebrity worship and vicarious living, all whims and impulses fall subservient, dropping humbly to the knees—yes, Mole Flies do, in fact, have knees!—before the grace of the merciful Queen, who is, in actuality, just a puppet dictator installed by the Melic papacy, using an old recycled Damsel fly-fishing lure. The dummy is crude, but convincing, as the Mole flies treat it as they would their true-born queen.

I felt I was in the loneliest place in the world, and I was apprehensive. Nothing could be heard except the occasional crash of an unknown creature in the forest, and, once in awhile, a deep thrumming similar to the lowest barely audible sound of a string bass. I was standing alone in 1972 in a semi-ruined lighthouse that my wife, fifteen-year-old daughter, and I had just purchased. The lighthouse was located atop a 200-foot cliff on an island a dozen miles from the Lake Superior shoreline. I was separated from the nearest human being by an unknown but surely great distance, and had hiked several hours through the forest to reach the place, following the path of an old road that once led to the lighthouse but was now no longer passable with a vehicle. The low rumble I occasionally heard, straddling the lowest limit of my auditory range, was caused by an occasional large wave entering a cavern below the lighthouse and resonating in the stony echo chamber.

Let’s start with an elementary example: Imagine hearing a series of identical notes, A A A A A. Each note elicits a response in the auditory areas of your brain—but as the notes repeat, those responses progressively decrease. This is called “adaptation,” a deceptively simple phenomenon that shows that your brain is learning to predict the next event. Suddenly, the note changes: A A A A A#. Your primary auditory cortex immediately shows a strong surprise reaction: not only does the adaptation fade away, but additional neurons begin to vigorously fire in response to the unexpected sound. And it is not just repetition that leads to adaptation: what matters is whether the notes are predictable. For instance, if you hear an alternating set of notes, such as A B A B A, your brain gets used to this alternation, and the activity in your auditory areas again decreases. This time, however, it is an unexpected repetition, such as A B A B B, that triggers a surprise response.

Music is an art form whose medium is sound and silence. Its common elements are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike; "art of the Muses"). The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to personal interpretation, and occasionally controversial. Within the arts, music may be classified as a performing art, a fine art, and auditory art. It may also be divided among art music and folk music. There is also a strong connection between music and mathematics. Music may be played and heard live, may be part of a dramatic work or film, or may be recorded. To many people in many cultures, music is an important part of their way of life. Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as "the harmony of the spheres" and "it is music to my ears" point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, "There is no noise, only sound. Musicologist Jean-Jacques Nattiez summarizes the relativist, post-modern viewpoint: "The border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus ... By all accounts there is no single and intercultural universal concept defining what music might be.

Predominantly inattentive type Perhaps the majority of girls with AD/HD fall into the primarily inattentive type, and are most likely to go undiagnosed. Generally, these girls are more compliant than disruptive and get by rather passively in the academic arena. They may be hypoactive or lethargic. In the extreme, they may even seem narcoleptic. Because they do not appear to stray from cultural norms, they will rarely come to the attention of their teacher. Early report cards of an inattentive type girl may read, "She is such a sweet little girl. She must try harder to speak up in class." She is often a shy daydreamer who avoids drawing attention to herself. Fearful of expressing herself in class, she is concerned that she will be ridiculed or wrong. She often feels awkward, and may nervously twirl the ends of her hair. Her preferred seating position is in the rear of the classroom. She may appear to be listening to the teacher, even when she has drifted off and her thoughts are far away. These girls avoid challenges, are easily discouraged, and tend to give up quickly. Their lack of confidence in themselves is reflected in their failure excuses, such as, "I can't," "It's too hard," or "I used to know it, but I can't remember it now." The inattentive girl is likely to be disorganized, forgetful, and often anxious about her school work. Teachers may be frustrated because she does not finish class work on time. She may mistakenly be judged as less bright than she really is. These girls are reluctant to volunteer for a project orjoin a group of peers at recess. They worry that other children will humiliate them if they make a mistake, which they are sure they will. Indeed, one of their greatest fears is being called on in class; they may stare down at their book to avoid eye contact with the teacher, hoping that the teacher will forget they exist for the moment. Because interactions with the teacher are often anxiety-ridden, these girls may have trouble expressing themselves, even when they know the answer. Sometimes, it is concluded that they have problems with central auditory processing or expressive language skills. More likely, their anxiety interferes with their concentration, temporarily reducing their capacity to both speak and listen. Generally, these girls don't experience this problem around family or close friends, where they are more relaxed. Inattentive type girls with a high IQ and no learning disabilities will be diagnosed with AD/HD very late, if ever. These bright girls have the ability and the resources to compensate for their cognitive challenges, but it's a mixed blessing. Their psychological distress is internalized, making it less obvious, but no less damaging. Some of these girls will go unnoticed until college or beyond, and many are never diagnosed they are left to live with chronic stress that may develop into anxiety and depression as their exhausting, hidden efforts to succeed take their toll. Issues

The auditory cortex seems to perform a simple calculation: it uses the recent past to predict the future. As soon as a note or a group of notes repeats, this region concludes that it will continue to do so in the future. This is useful because it keeps us from paying too much attention to boring, predictable signals. Any sound that repeats is squashed at the input side, because its incoming activity is canceled by an accurate prediction. As long as the input sensory signal matches the prediction that the brain generates, the difference is zero, and no error signal gets propagated to higher-level brain regions. Subtracting the prediction shuts down the incoming inputs—but only as long as they are predictable. Any sound that violates our brain’s expectations, on the contrary, is amplified. Thus, the simple circuit of the auditory cortex acts as a filter: it transmits to the higher levels of the cortex only the surprising and unpredictable information which it cannot explain by itself.

The auditory cortex, as an example, processes the sound inputs that have not already been gated earlier in the stream. It specifically works with tone, pitch, harmony, loudness, and beat patterning or timing. In people that use auditory inputs as a primary or major area of sensory processing musicians for instance there is much less gating of sound in the deeper levels of the brain than in nonmusicians. In consequence, much more sound input reaches the auditory cortex. Because the auditory cortex is continually used to work with larger amounts of sound inflows (with more subtlety), it becomes highly developed and shows tremendous plasticity, that is, continuous new neuronal development. Frances Densmore, for example, the ethnomusicologist who recorded thousands of Native plant songs in the early twentieth century, could perceive pitch differentiations as tiny as 1/32 in deviation. (She had as well total recall and prefect pitch.) The more a sensory modality is consciously used to analyze incoming sensory inflows, the more sensitive it becomes, and the larger the neural network within it becomes.

inbox. It was from Ogden Morrow. The subject line read “We Can Dance If We Want To.” There was no text in the body of the e-mail. Just a file attachment—an invitation to one of the most exclusive gatherings in the OASIS: Ogden Morrow’s birthday party. In the real world, Morrow almost never made public appearances, and in the OASIS, he came out of hiding only once a year, to host this event. The invitation featured a photo of Morrow’s world-famous avatar, the Great and Powerful Og. The gray-bearded wizard was hunched over an elaborate DJ mixing board, one headphone pressed to his ear, biting his lower lip in auditory ecstasy as his fingers scratched ancient vinyl on a set of silver turntables. His record crate bore a DON’T PANIC sticker and an anti-Sixer logo—a yellow number six with a red circle-and-slash over it. The text at the bottom read Ogden Morrow’s ’80s Dance Party in celebration of his 73rd birthday! Tonight—10pm OST at the Distracted Globe ADMIT ONE I was flabbergasted. Ogden Morrow had actually taken the time to invite me to his birthday party. It felt like the greatest honor I’d ever received. I called Art3mis, and she confirmed that she’d received the same e-mail. She said she couldn’t pass up an invitation from Og himself

I knew both from personal experience and by the example of many of my comrades that fighting in a war has an irreparably destructive effect on almost any man. I knew also that the constant proximity of death, the sight of the killed, wounded, dying, hanged and shot, the great red flame in the icy air above blazing villages on a winter’s night, the carcass of a man’s horse and those auditory impressions - the alarm bell, shell explosions, the whistle of bullets, the desperate, unknown cries – none of this ever passes with impunity. I knew that the silent, almost unconscious memory of war haunts the majority of people who have gone through it, leaving something broken in them once and for all. I knew myself that the normal, human ideas regarding the value of life and the necessity for a basic moral code – not to kill, not to steal, not to rape, to show compassion – had been slowly reasserted within me after the war, but they had lost their former persuasiveness and had become merely a system of theoretical morality, with whose correctness and necessity I couldn’t, in principle, disagree. Those feelings that ought to have been inside me and that were a condition of the re-establishment of this code had been razed by war; they no longer existed, and there was nothing to take their place.

Finally, Tononi argues that the neural correlate of consciousness in the human brain resembles a grid-like structure. One of the most robust findings in neuroscience is how visual, auditory, and touch perceptual spaces map in a topographic manner onto visual, auditory, and somatosensory cortices. Most excitatory pyramidal cells and inhibitory interneurons have local axons strongly connected to their immediate neighbours, with the connections probability decreasing with distance. Topographically organized cortical tissue, whether it develops naturally inside the skull or is engineered out of stem cells and grown in dishes, will have high intrinsic causal power. This tissue will feel like something, even if our intuition revels at the thought that cortical carpets, disconnected from all their inputs and outputs, can experience anything. But this is precisely what happens to each one of us when we close our eyes, go to sleep, and dream. We create a world that feels as real as the awake one, while devoid of sensory input and unable to move. Cerebral organoids or grid-like substances will not be conscious of love or hate, but of space.; of up, down, close by and far away and other spatial phenomenology distinctions. But unless provided with sophisticated motor outputs, they will be unable to do anything.

I have just spoken of that morbid condition of the auditory nerve which rendered all music intolerable to the sufferer, with the exception of certain effects of stringed instruments. It was, perhaps, the narrow limits to which he thus confined himself upon the guitar which gave birth, in great measure, to the fantastic character of his performances. But the fervid facility of his impromptus could not be so accounted for. They must have been, and were, in the notes, as well as in the words of his wild fantasies (for he not unfrequently accompanied himself with rhymed verbal improvisations), the result of that intense mental collectedness and concentration to which I have previously alluded as observable only in particular moments of the highest artificial excitement. The words of one of these rhapsodies I have easily remembered. I was, perhaps, the more forcibly impressed with it as he gave it, because, in the under or mystic current of its meaning, I fancied that I perceived, and for the first time, a full consciousness on the part of Usher of the tottering of his lofty reason upon her throne. The verses, which were entitled “The Haunted Palace,” ran very nearly, if not accurately, thus:— I. In the greenest of our valleys, By good angels tenanted, Once a fair and stately palace— Radiant palace—reared its head. In the monarch Thought’s dominion— It stood there! Never seraph spread a pinion Over fabric half so fair. II. Banners yellow, glorious, golden, On its roof did float and flow (This—all this—was in the olden Time long ago); And every gentle air that dallied, In that sweet day, Along the ramparts plumed and pallid, A winged odor went away. III. Wanderers in that happy valley Through two luminous windows saw Spirits moving musically To a lute’s well-timed law; Round about a throne, where sitting (Porphyrogene!) In state his glory well befitting, The ruler of the realm was seen. IV. And all with pearl and ruby glowing Was the fair palace door, Through which came flowing, flowing, flowing And sparkling evermore, A troop of Echoes whose sweet duty Was but to sing, In voices of surpassing beauty, The wit and wisdom of their king. V. But evil things, in robes of sorrow, Assailed the monarch’s high estate; (Ah, let us mourn, for never morrow Shall dawn upon him, desolate!) And, round about his home, the glory That blushed and bloomed Is but a dim-remembered story Of the old time entombed. VI. And travellers now within that valley, Through the red-litten windows see Vast forms that move fantastically To a discordant melody; While, like a rapid ghastly river, Through the pale door; A hideous throng rush out forever, And laugh—but smile no more.

Like many dogs, young Sirius found human music quite excruciating. An isolated vocal or instrumental theme was torture enough to him; but when several voices or instruments combined, he seemed to lose control of himself completely. His fine auditory discrimination made even well-executed solos seem to him badly out of tune. Harmony and the combination of several themes resulted for him in hideous cacophony. Elizabeth and the children would sometimes sing rounds, for instance when they were coming downt he moor after a picnic. Sirius invariably had to give up his usual far-ranging course and draw into the party to howl. The indignant children would chase him away, but as soon as the singing began again he would return and once more give tongue. On one occasion Tamsy, who was the most seriously musical member of the family, cried imploringly, 'Sirius, do either keep quiet or keep away! Why cant't you let us enjoy ourselves?' He replied, 'But how can you like such a horrible jarring muddle of sweet noises? I have to come to you because they're so sweet, and I have to howl because it's a mess, and because-oh because it might be so lovely.' Once he said, 'If I were to paint a picture could you just keep away? Wouldn't you go crazy because of the all-wrongness of the colour? Well, sounds are far more exciting to me than your queer colour is to you.

Given this new theory of mental illness, we can now apply it to various forms of mental disorders, summarizing the previous discussion in this new light. We saw earlier that the obsessive behavior of people suffering from OCD might arise when the checks and balances between several feedback loops are thrown out of balance: one registering something as amiss, another carrying out corrective action, and another one signaling that the matter has been taken care of. The failure of the checks and balances within this loop can cause the brain to be locked into a vicious cycle, so the mind never believes that the problem has been resolved. The voices heard by schizophrenics might arise when several feedback loops are no longer balancing one another. One feedback loop generates spurious voices in the temporal cortex (i.e., the brain is talking to itself). Auditory and visual hallucinations are often checked by the anterior cingulate cortex, so a normal person can differentiate between real and fictitious voices. But if this region of the brain is not working properly, the brain is flooded with disembodied voices that it believes are real. This can cause schizophrenic behavior. Similarly, the manic-depressive swings of someone with bipolar disorder might be traced to an imbalance between the left and right hemispheres. The necessary interplay between optimistic and pessimistic assessments is thrown off balance, and the person oscillates wildly between these two diverging moods. Paranoia may also be viewed in this light. It results from an imbalance between the amygdala (which registers fear and exaggerates threats) and the prefrontal cortex, which evaluates these threats and puts them into perspective. We should also stress that evolution has given us these feedback loops for a reason: to protect us. They keep us clean, healthy, and socially connected. The problem occurs when the dynamic between opposing feedback loops is disrupted.

Linguistic and musical sound systems illustrate a common theme in the study of music-language relations. On the surface, the two domains are dramatically different. Music uses pitch in ways that speech does not, and speech organizes timbre to a degree seldom seen in music. Yet beneath these differences lie deep connections in terms of cognitive and neural processing. Most notably, in both domains the mind interacts with one particular aspect of sound (pitch in music, and timbre in speech) to create a perceptually discretized system. Importantly, this perceptual discretization is not an automatic byproduct of human auditory perception. For example, linguistic and musical sequences present the ear with continuous variations in amplitude, yet loudness is not perceived in terms of discrete categories. Instead, the perceptual discretization of musical pitch and linguistic timbre reflects the activity of a powerful cognitive system, built to separate within-category sonic variation from differences that indicate a change in sound category. Although music and speech differ in the primary acoustic feature used for sound category formation, it appears that the mechanisms that create and maintain learned sound categories in the two domains may have a substantial degree of overlap. Such overlap has implications for both practical and theoretical issues surrounding human communicative development. In the 20th century, relations between spoken and musical sound systems were largely explored by artists. For example, the boundary between the domains played an important role in innovative works such as Schoenberg's Pierrot Lunaire and Reich's Different Trains (cf. Risset, 1991). In the 21st century, science is finally beginning to catch up, as relations between spoken and musical sound systems prove themselves to be a fruitful domain for research in cognitive neuroscience. Such work has already begun to yield new insights into our species' uniquely powerful communicative abilities.

No teacher of RE ever said to me: “Beyond the limited realm of the senses, the shallow pool of the known, is a great untamable ocean, and we don’t have a fucking clue what goes on in there.” What we receive through sight, sound, smell, taste, and touch is all we know. We have tools that can enhance that information, we have theories for things that we suspect lie beyond that information, filtered through an apparatus limited once more to those senses. Those senses are limited; the light range we detect is within a narrow spectrum, between infrared light and ultraviolet light; other species see light that we can’t see. In the auditory realm, we hear but a fraction of the sound vibrations; we don’t hear high-pitched frequencies, like dog whistles, and we don’t hear low frequencies like whale song. The world is awash with colors unseen and abuzz with unheard frequencies. Undetected and disregarded. The wise have always known that these inaccessible realms, these dimensions that cannot be breached by our beautifully blunt senses, hold the very codes to our existence, the invisible, electromagnetic foundations upon which our gross reality clumsily rests. Expressible only through symbol and story, as it can never be known by the innocent mind. The stories are formulas, poems, tools for reflection through which we may access the realm behind the thinking mind, the consciousness beyond knowing and known, the awareness that is not connected to the haphazard data of biography. The awareness that is not prickled and tugged by capricious emotion. The awareness that is aware that it is aware. In meditation I access it; in yoga I feel it; on drugs it hit me like a hammer—at sixteen, staring into a bathroom mirror on LSD, contrary to instruction (“Don’t look in the mirror, Russ, it’ll fuck your head up.” Mental note: “Look in mirror.”). I saw that my face wasn’t my face at all but a face that I lived behind and was welded to by a billion nerves. I looked into my eyes and saw that there was something looking back at me that was not me, not what I’d taken to be me. The unrefined ocean beyond the shallow pool was cascading through the mirror back at me. Nature looking at nature.

Flynn lived in a shiny glass apartment tower on the water in Melbourne. The building looked like hundreds of mirrors reflecting the bright blue sky. He lived at the top of the high-rise. Kope and I stepped off the elevator and looked down the hall at Flynn’s door. We’d been silent. Nodding to each other, we sent our hearing into the apartment. With a quiet gasp, I yanked my auditory sense back to normal. Flynn was busy with company at the moment. Very busy. Kope made a low sound and closed his eyes, shaking his head as if to clear away the sounds he’d heard. My face heated and I shifted from foot to foot, fighting back the nervous smile that always wanted to surface at inappropriate times. I found a small sitting area around the corner with glass walls overlooking the city. We sat, taking in the view. When my stupid urge to smile finally settled, I braved another look at Kope and pointed to myself, using my new, limited sign-language skills to tell him I’d listen. Given the new information about his inclination for lust, it was only fair. I quickly looked away, embarrassed by the crassness of the situation. I wasn’t going to listen the whole time. I’d just pop in for a quick check. Ten minutes passed. Still busy. Half an hour passed. Busy. Forty-five minutes passed. I shook my head to let Kope know they were still at it. He fidgeted and paced, out of his normal, calm comfort zone. An hour and ten minutes passed, and I took a turn at stretching my legs. I was getting hungry. I thought we’d be through with our talk by this time. We could interrupt Flynn, but I didn’t want him to freak out in front of somebody. We needed his guest to leave so we could talk alone. At the hour and a half mark, Kope checked his watch and looked at me. I sent my hearing into the room. Oh, they weren’t in the bedroom anymore. Finally! I wiggled my hearing around until it hit the sound of running water. A shower. This was a good sign. But wait . . . nope. I shook my head, eyes wide. Was this normal? Kope did something uncharacteristic then. He grinned, giving a little huff through his nose. This elicited a small giggle from me and I pressed both hands over my mouth. It was too late, though. At this point, I wouldn’t be able to stop myself. I could feel the crazy, unfortunate amusement rising. I jumped up and ran as spritely as I could to the stairwell with Kope on my heels. We sprinted down several flights before I fell back against the wall, laughter bubbling out. It went on and on, only getting worse when Kope joined in with his deep chuckling, a joyful rumble.

Recently, brain scans of schizophrenics taken while they were having auditory hallucinations have helped explain this ancient disorder. For example, when we silently talk to ourselves, certain parts of the brain light up on an MRI scan, especially in the temporal lobe (such as in Wernicke’s area). When a schizophrenic hears voices, the very same areas of the brain light up. The brain works hard to construct a consistent narrative, so schizophrenics try to make sense of these unauthorized voices, believing they originate from strange sources, such as Martians secretly beaming thoughts into their brains. Dr. Michael Sweeney of Ohio State writes, “Neurons wired for the sensation of sound fire on their own, like gas-soaked rags igniting spontaneously in a hot, dark garage. In the absence of sights and sounds in the surrounding environment, the schizophrenic’s brain creates a powerful illusion of reality.” Notably, these voices seem to be coming from a third party, who often gives the subject commands, which are mostly mundane but sometimes violent. Meanwhile, the simulation centers in the prefrontal cortex seem to be on automatic pilot, so in a way it’s as though the consciousness of a schizophrenic is running the same sort of simulations we all do, except they’re done without his permission. The person is literally talking to himself without his knowledge. HALLUCINATIONS The mind constantly generates hallucinations of its own, but for the most part they are easily controlled. We see images that don’t exist or hear spurious sounds, for example, so the anterior cingulate cortex is vital to distinguish the real from the manufactured. This part of the brain helps us distinguish between stimuli that are external and those that are internally generated by the mind itself. However, in schizophrenics, it is believed that this system is damaged, so that the person cannot distinguish real from imaginary voices. (The anterior cingulate cortex is vital because it lies in a strategic place, between the prefrontal cortex and the limbic system. The link between these two areas is one of the most important in the brain, since one area governs rational thinking, and the other emotions.) Hallucinations, to some extent, can be created on demand. Hallucinations occur naturally if you place someone in a pitch-black room, an isolation chamber, or a creepy environment with strange noises. These are examples of “our eyes playing tricks on us.” Actually, the brain is tricking itself, internally creating false images, trying to make sense of the world and identify threats. This effect is called “pareidolia.” Every time we look at clouds in the sky, we see images of animals, people, or our favorite cartoon characters. We have no choice. It is hardwired into our brains. In a sense, all images we see, both real and virtual, are hallucinations, because the brain is constantly creating false images to “fill in the gaps.” As we’ve seen, even real images are partly manufactured. But in the mentally ill, regions of the brain such as the anterior cingulate cortex are perhaps damaged, so the brain confuses reality and fantasy.

This transformation involves three dynamics: 1. The identification with shame-based models and the carrying of their unexpressed shame. 2. The trauma of abandonment and the shame binding all one’s feelings, needs and drives. 3. The interconnection and magnification of visual memories or scenes, and the retaining of shaming auditory and kinesthetic imprints.

THE INTERCONNECTION OF MEMORY IMPRINTS THAT FORM COLLAGES OF SHAME As shaming experiences accrue and are defended against, the images created by those experiences are recorded in a person’s memory bank. Because the victim has no time or support to grieve the pain of the broken mutuality, his emotions are repressed and the grief is unresolved. The verbal (auditory) imprints remain in the memory, as do the visual images of the shaming scenes. As each new shaming experience takes place, a new verbal imprint and visual image form a scene that becomes attached to the existing ones to form collages of shaming memories. Children record their parents’ actions at their worst. When Mom and Dad, or stepparent or caregiver, are most out of control, they are the most threatening to the child’s survival. The child’s amygdala, the survival alarm center in their brain, registers these behaviors the most deeply. Any subsequent shame experience that even vaguely resembles that past trauma can easily trigger the words and scenes of the original trauma. What are then recorded are the new experiences and the old. Over time, an accumulation of shame scenes is attached.