The entire podcast titled The Creative Mind, from To The Best Of Our Knowledge, is very interesting, but I pulled out these two quotes from Charles Limb and Mike Pope in particular, because they seemed to speak directly to ideomotion as I have read it described by Barrett Dorko, PT. Additionally, Mike Pope also speaks toward the interactor model that has been referenced by Diane Jacobs, PT and Jason Silvernail DPT, DSc, FAAOMPT as well.
From Charles Limb:
When you are improvising you are telling your musical story. You are using your own voice, your own signature, your life experiences, your music background, your skills to tell this musical story. That’s why it is autobiographical without using words when you are improvising, and also, you really are trying to generate more ideas and new ideas rather than shut them down. You kinda want to turn on the faucet, rather than turn off the faucet. And so I think that’s part of why these self-monitoring areas [in the brain] turn off; because you are less concerned with making a mistake than you are with not playing safely. I mean, really, the goal is to go somewhere you haven’t been before musically.
I appreciate his emphasis on how the individual’s experiences and background influence their own ability to tell their story and how one need not be “concerned with making a mistake”…again it reminds me of how Mr. Dorko has written of Simple Contact and creating a non-threatening environment that encourages instinctive movement that moves toward correction.
From Mike Pope:
The sensation that I have when I play [improvisationally] is that my consciousness is essentially a conductor and my motor nervous system is an orchestra, because the consciousness (the part that does inhibit, the part that’s contemplative and all that stuff) can’t do a good job of really making or playing music. That is not what it is there to do. I’ve had experiences where I have played music and I have reacted to things before I was conscious of the fact that they’d happened. I’ve (actually) played something in response to something that I have heard and not known what it was until later when I thought about it.
[When I am improvising] I am thinking, but it is not linear thought…I am not thinking along as I go, [but] is should [feel good] when it is right. And that is one of the things about music, that to me…the thing that makes music not feel good is when there is no communication (at all). That’s the thing that makes it sorta sterile and it takes the life out of it.
Has my education simply instructed me to serve as conductor over a series of inherently similar, but still drastically different orchestras (each individual’s nervous system)? Is it possible that improvisational movement, like music, uses a completely different part of the cerebral cortex (see this video) and thus, “re-wires” the brain through novelty, allowing for movement dissociated from a painful neurotag by modifying action programs? Could it possibly resolve an abnormal neurodynamic via alteration of sensory signalling systems? Or could the context/environment in which the movement takes place be enough to reduce or abolish an individual’s pain by influencing cognitive and emotion-related brain areas?