The Role of Innerspeech in Accidents

The Role of Innerspeech in Accidents

Innervoice is the subjective experience of hearing sounds in the absence of external and overt sounds.  We hear sounds and voices in our head  normally. For example, we may sometimes hear asif the door bell has rung.  We may also hear asif we are speaking when we are thinking.

“Inner speech can be defined as the subjective experience of language in the absence of overt and audible articulation.” [1]  The loudness of the innerspeech changes from time to time.  For example, when we face injustice our innervoice begins to ‘shout’ literally.

There are times our innervoice may get out of control and disturb us.  The innervoice may get totally out of control and we may not be able to control it.  This may lead to hallucinations.  Sound hallucinations are frequent in some mental disorders.

Innervoice also plays a positive function in a healthy person.   Simply, we repeat a phrase when we have to keep it in our mind.   “Innerspeech’s  relations to task difficulty and task performance (Al-Namlah, Fernyhough, & Meins, 2006; Fernyhough & Fradley, 2005; Winsler, Fernyhough, & Montero, 2009)”[1], “cognitive capacities responsible for the planning, inhibition, and control of behavior (e.g., Cragg & Nation, 2010”;[1] “Williams, Bowler, & Jarrold, 2012),  an important role in metacognition, self-awareness, and selfunderstanding (Morin, 2005)”[1].

We begin to hear innerspeech intentionally or automatically, namely consciously or subconsciously.

Innerspeech is trigged when we adress an issue or a person by our will.  Our subconscious may trigger innerspeech in case of emergency, or task difficulty or just a habit.

We percieve innervoice as our self voice or non-selfvoice.  Selfvoice implies selfconsciousness and focus in cognitive processing.  Focus obtained by innerspeech inhibits other cognitive tasks in a recursive and increasing manner.

The large system driving person has to stand on the control of his/her vehicle for long periods of time.  Repetitive visual/audial inputs, static view or situations bores the driver.  When the motivation(Dopamin) becomes excessive according to the task the brain has to use it for another task, if none then dreaming begins.  Dreaming may be visual or audial or as innerspeech.   The driver begins to think about a specific subject loudly in his/her mind.

When dreaming or the innerspeech begins, it is at first treated as ‘divided attention’, namely the driver drives and also talks to himself in his mind.  The risk is, the focus of innerspeech has the natural tendency to increase.  The driver cannot know when the innerspeech has overcome the driving task.  The worst of it, we cannot be aware of the closure of the secondary task.  For ex. you cannot notice when the radio’s sound has disappeared ina case of driving difficulty.  This is the reason we suddenly get aware of an imminent danger when driving.

Technically speaking, not related innerspeech while driving increases the selfconsciousness / selfawareness of the driver.  This hurts the man-machine embodiment, let’s name it, pilot-airplane embodiment.  The loss of embodiment leads to the destruction of the situation awareness. 

At this point, the safety of the large system is left only to the subconscious and the sudden reflexive reactions of the driver.  The subconscious, may be triggered by driver’s previously trained visual rules and even if the driver looks and does not see the outer world his subconscious may sense the emergency.

Boşluğa Bakma Gündüz Rüyası-1

I – Otomobil veya büyük sistem sürerken boş boş bakma/gündüz rüyası görmenin nedenleri.

I - The causes of spacing/day dreaming while driving/controlling a large system

Çocuk olarak devam ettiğimiz ilkokulu gözümüzde canlandırabilir/hayal edebiliriz.  Uyurken rüyalr görebiliriz.  Bahama sahillerinde bir tatili gözüaçık hayal edebiliriz.

We can see/imagine the primary school that we have attended as a child.  We can see dreams when sleeping.  We can daydream a vacation on the Bahamian beaches.

Bunlar arasında küçük bir fark var, yani rüya görmek ve hayal etmek arasında.  Hayal etmek bilinçli düzeyde olurken rüya görmek bilinçaltı düzeyinde olur.  Her ne durum ise beynimiz içinde bunları yapmak için bir altsistem sahibi olduğumuz kesindir.

There is a slight difference between these, namely dreaming and imagining.  Imagining is more

on the conscious level whereas dreaming is more on the subconscious level.  Whatever the case is, we certainly have a subsystem in our brain to do these.

Görsel hatırlama tecrübesi, belleğimizden orjinal nesnelerin, yerlerin, hayvanların veya insanların zihinsel görüntülerini alabileceğimiz zihinimizin gözü olarak ta adlandırılır.[Berryhill , M. (2008, May 09). ” ^[1]

“The experience of visual memory is also referred to as the mind's eye through which we can retrieve from our memory a mental image of original objects, places, animals or people.[Berryhill , M. (2008, May 09). ” ^[1]

Araştırmacılar beyin faaliyetlerini kesintiye uğratan magnetik alanlar kullanarak görsel hatıraların beyinde zihinsel resimler olarak yeniden oluşturulduğunu ispat ettiler.”^[2]

“Using magnetic fields that disrupt brain activity, researchers  have proved that visual memories are re-created in the brain as mental pictures. Stored images are played, like videotapes, on a screenlike sheet of tissue at the back of the head.”^[2]

Benzer şekilde, en gözde şarkımızı beynimizde defalarca duyabiliriz.  Müzisyenler bu problemi/yeteneği çok daha fazla yaşayabilirler çünkü daha eğitimli ve müzikle daha çok iç içedirler.  Zihinin gözüne benzer şekilde yeni bir müzik parçasını hayal edebileceğimiz ya da daha önce duymuş olduğumuzu hatırlayabileceğimiz bir zihin kulağı vardır.

Similarly we may hear our beloved tune time and time again in our brain.  Musicians have this problem/ability much more as they are more trained and they are more involved with music.  Similar to mind’s eye there is a mind’s ear with which we can imagine a new piece of music or recall one that we have heard before.

Zihin kulağından bir adım ileri olarak iç sesimiz var.  Dilimizi veya dudaklarımızı hiç oynatmadan zihinimizin içinde konuşabiliriz.  Üstünde çalıştığımız konuya ilişkin kritik kelimeleri zihnimizde tekrar ederek düşünmemize ya da hatırlamamıza yardımcı olabiliriz.

One step further than mind’s ear, we have inner voice.  We can speak in our mind without moving a bit our tongue or lips and making any sound.  We can help our thinking by repeating critical words to the subject we are working on or trying to remember.

İç ses ve zihinin kulağı zihnin kelimeleri duymasına yol açar.  Zihnin gözüne çok benzer şekilde zihnin kelimeleri duyması istekli ve istek dışında gerçekleşebilir.  Yani iç sesinizi bilinçli kullanarak bir kelimeyi hatırlayabilirsiniz ya da bir probleme kafa yorup daha sonra kendinizi dinlenmeye bırakabilir ve aniden bilinçaltınızdan gelen bir kelime ya da düşünceyi iç sesinizde duyabilirsiniz.  Biz bunlara esinlenme ve ilham diyoruz.

The existence of inner voice and mind’s ear gives rise to the existence of mind’s hearing of words.

Very similar to mind’s eye, mind’s hearing of words happens intentionally or unintentionally. Namely

you may recall a word using your inner voice consciously  or you can ponder a problem than leave yourself to rest and suddenly hear a word or idea that comes from your subconscious.  We call these inspiration and intuition.

Gelecek bölümde otomobil veya herhangi bir büyük sistemi kontrol ederken boşluğa bakma veya gündüz rüyasının nedenleri/sonuçlarından bahsedeceğim.

I will write about the causes/effects of spacing or daydreaming while driving a car or controlling any large system in the next section.

REFERENCES:

[1] Visual memory and the brain.

Retrieved from http://www.visionsciences.org/symposia2008_4.html

[2] HARVARD GAZETTE ARCHIVES

Mind's Eye Re-Creates Visual Memories

By William J. Cromie

Spacing Daydreaming - I

I - The causes of spacing/day dreaming while driving/controlling a large system

We can see/imagine the primary school that we have attended as a child.  We can see dreams when sleeping.  We can daydream a vacation on the Bahamian beaches.

There is a slight difference between these, namely dreaming and imagining.  Imagining is more

on the conscious level whereas dreaming is more on the subconscious level.  Whatever the case is, we certainly have a subsystem in our brain to do these.

“The experience of visual memory is also referred to as the mind's eye through which we can retrieve from our memory a mental image of original objects, places, animals or people.[Berryhill , M. (2008, May 09). ” ^[1]

“Using magnetic fields that disrupt brain activity, researchers  have proved that visual memories are re-created in the brain as mental pictures. Stored images are played, like videotapes, on a screenlike sheet of tissue at the back of the head.”^[2]

Similarly we may hear our beloved tune time and time again in our brain.  Musicians have this problem/ability much more as they are more trained and they are more involved with music.

Similar to mind’s eye there is a mind’s ear with which we can imagine a new piece of music or recall one that we have heard before.

One step further than mind’s ear, we have inner voice.  We can speak in our mind without moving an bit our tongue or lips and making any sound.  We can help our thinking by repeating critical words to the subject we are working on or trying to remember.

The existence of inner voice and mind’s ear gives rise to the existence of mind’s hearing of words.

Very similar to mind’s eye, mind’s hearing of words happens intentionally or unintentionally. Namely

you may recall a word using your inner voice consciously  or you can ponder a problem than leave yourself to rest and suddenly hear a word or idea that comes from your subconscious.  We call these inspiration and intuition.

I will write about the causes/effects of spacing or daydreaming while driving a car or controlling any large system in the next section.

REFERENCES:

[1] Visual memory and the brain.

Retrieved from http://www.visionsciences.org/symposia2008_4.html

[2] HARVARD GAZETTE ARCHIVES

Mind's Eye Re-Creates Visual Memories

By William J. Cromie

Acil Durumda Kontrastın Rolü

Acil Durumda Kontrastın Rolü

The Role of Contrast in Emergency

by Ali Riza SARAL

Collins’in Sözlüğüne göre “Kontrast, karşılaştırdığınız sırada belirgin olan iki şey arasındaki büyük farktır”.

According to Collins' Dictionary "A contrast is a great difference between two or more things which is clear when you compare them".

Kontrast bir algılama şeklidir. Kontrast, değişikliğin algılamamızda oluşturduğu etkidir.  Eğer bu değişiklik, büyüklüğü ile oranlandığında çok kısa bir zaman ya da uzay aralığını kaplıyorsa biz onu kontrast olarak algılarız.

A contrast is a form of perception.  Contrast is the effect of change in our perception.  If this change takes a short span of time or space  in proportion to its size we perceive it as a contrast.

Bir şimşek karanlık içinde ani ve güçlü bir parlak ışık oluşturur. Ani bir umutsuzluk çığlığı ondan önce gelen matem ortamı ile kontrast oluşturur.  Kontrastın sanatsal kullanımına Verdi Requiem’de şahit olabilirsiniz.  Verdi eserlerinde kontrastın beceri ile kullanımında ustadır.

A lightening produce sudden and strong light in darkness.  A sudden shout of dispair contrasts with previous grief mood.  In fact, contrast has various uses in our lives.  You can witness the artful use of contrast in Verdi's Requiem.  Verdi is a master of managing contrast skillfully in his many works.

Verdi dinleyicilerin matem tutmasına destek olacak şekilde kontrastı kullanır.  Birbiri ile kontrast eden unsurlardan oluşan bir dönemden sonra sakinliğin çökmesini sağlar  Bu, izleiyicilerin algılamasının normale dönmesini sağlar.  Sonra aniden, bir kaç saniye içinde en yüksek ses gürlüğü seviyesini patlatır.

Verdi uses contrast to help mourning of the audience. He does not use contrast continuously.  He settles down calmness after a period of contrasting elements.  This helps the perception of the audience to return to normal.  Then suddenly, in a few seconds he blasts out the highest loudness.

Biz duygularımızla ve aklımızla algılarız.  Duygusal işleyiş muhakemesel olandan daha hızlıdır.  Ani bir kontrast ilk önce duyguları tetikler.  Duygular bir kere tetiklenince bir döngü halinde yine duyguları tetiklerler( panik, şok). Daha önce öğrenilmiş olan otomatik işlemler, çalışmaya başlamak için gerekli zamana sahip olamazlar.

We perceive emotionally and cognitively.  Emotional processing is faster than cognitive.  A sudden contrast triggers emotions first. Once emotions take control they trigger themselves recursively(panic, shock).  Automatic processes which are learned in trainings previously do not have time to work.

Büyük kontrastlar içeren acil bir durumda, otomatik işlemlerin ve daha sonraki muhakemesel yaklaşımın, kontrolü ele alabilmesi için sakin bir şekilde tepki göstermek hayati önemdedir.

In an emergency situation where there is probably large contrasts it is vital to react calmly so that automatic processes and further cognitive approach take over control.

Acil durumda çabuk tepki göstermek .....’salience’(uyanıklık) ‘a bağlıdır.  Pilot, operator, kontrolör tarafından geliştirilen ve canlı tutulan uyanıklık(salience)’ın sağlıklığı üzerinde düşünülmesi gerekir.  Nasıl bir kontrolörsünüz? tepkisel, sakin, duygusal, mantıksal???

Being able to react quickly in emergency depends on 'salience'.  Contrast increases salience also.  The health of salience developed and maintained by a pilot, operator, controller may need to be pondered upon.  What type of a controller are you? reactive, patient, emotional, logical???

Ali Riza SARAL

The röle of contrast in emergency

The Role of Contrast in Emergency
by Ali Riza SARAL

According to Collins' Dictionary
"A contrast is a great difference between two or more things
which is clear when you compare them".


A contrast is a form of perception.  Contrast is the effect of change
in our perception.  If this change takes a short span of time or
space  in proportion to its size we perceive it as a contrast.

A lightening produce sudden and strong light in darkness.  A sudden shout of
dispair contrasts with previous grief mood.  In fact, contrast has various
uses in our lives.  You can witness the artful use of contrast in Verdi's
Requiem.  Verdi is a master of managing contrast skillfully in his many works.

He uses contrast to help mourning of the audience. He does not use contrast
continuously.  He settles down calmness after a periof contrasting elements.
This helps the perception of the audience to return to normal.  Then suddenly,
in a few seconds he blasts out the highest loudness.

We perceive emotionally and cognitively.  Emotional processing is faster than
cognitive.  A sudden contrast triggers emotions first. Once emotions take control
they trigger themselves recursively.  Automatic processes which are learned in
trainings previously do not have time to work.

In an emergency situation where there is probably large contrasts it is vital
to react calmly so that automatic processes and further cognitive approach
take over control.

Being able to react quickly in emergency depends on 'salience'.  Contrast
increases salience also.  The health of salience developed and maintained by
a pilot, operator, controller may need to be pondered upon.  What type
of a controller are you? reactive, patient, emotional, logical???

Ali Riza SARAL