<< Is there a universal time constant for poetic lines when people read them aloud or recite them by heart? Turner and Pöppel (1988) collected over 20 types of poetry, varying from East to West and from modern societies to indigenous cultures, and found a constant of ~3 s for the duration of poetic lines. >>️
<< This observation indicates a production– perception synchrony of ~3 s, which means that we not only tend to recite poems (and speech in a more general sense; discussed later) with a 3-s pattern but also appreciate poems aesthetically within the same temporal frame. This temporal preference for a 3-s pattern and not a 1-s or a 10-s pattern, which linguistically would be possible, indicates presumably a profound evolutionary basis. The temporal modulation effect of the 3-s window on aesthetic appreciation may also motivate to look for other concepts and phenomena of the cognitive and neural basis of aesthetic perception in general and in detail, as has been partly already done for decision processes, the visual arts, and music (Avram et al., 2013; Bao et al., 2016; Bao et al., 2017; Park et al., 2014; Park et al., 2015; Pöppel, 1989a). >>
Xinchi Yu, Yan Bao. The three second time window in poems and language processing in general: Complementarity of discrete timing and temporal continuity. PsyCh Journal. Vol 9, Issue 4 p. 429-443. doi: 10.1002/ pchj.390. Aug 26, 2020.
<< the composer Peter Michael Hamel (..) decided to compose a string quartet, which he called The Time Frame. This time window (the three second time window), which is an anthropological universal, provides an operative basis for effortless communication, empathic relationships to others, and it is the brain's way to integrate continuity and simultaneity of what is experienced in a complementary mode. >>️
Peter Michael Hamel. Through the self to music: The self as the creative origin for composing in time frames. Psych J. 10(2):249-253. doi: 10.1002/ pchj.446. Apr 12, 2021
Also
Ramificata tinnula (di carmina fluitantia). Notes (quasi-stochastic poetry). Jun 09, 2005.
Elettrico Charlie (Seven come eleven).
Notes (quasi-stochastic poetry). Feb 01, 2007.
Il pseudomotore di Shostakovich. Notes (quasi-stochastic poetry). Nov 15, 2006.
keyword 'jazz' in Notes (quasi-stochastic poetry)
FonT
Queste considerazioni di Xinchi Yu e Yan Bao potrebbero anche indicare una sorta di predisposizione neurofisiologica individuale all' 'immediato Satori' ...
