I don't think drift would necessarily be the same for humans and a wildly different intelligence architecture, but it's an interesting way to think about it.
From Colby who wrote a post also examining such considerations several years ago comments:
"I'm not familiar with this dataset but eyeballing the data and others I've seen of international comparisons it seems there's a pretty tight correlation between price/income and population density, which seems intuitive, and America remains a rather sparsely populated country. The more relevant metric for investment purposes would probably be rental yield, and the figure I see here for US city centers of 10.5% as of 2019 seems totally out of whack with other data I've seen. Alex and I recently did a detailed analysis for a client who was considering buying a rental property in the Bay Area and after accounting for all relevant costs the net rental yield he was looking at was well below that on T-bills. SF is more overvalued than most cities and things have changed since 2019, but still. Now, you can find plenty of properties in the US outside the major cities where rental yields are quite attractive, but that's a point I've been careful to make all along, my long held somewhat-anti-homeownership position has always been focused on the major US cities where housing prices are high (and most of our clients/prospects live). Alex has actually bought a few investment properties in middle-of-nowhere parts of the US and he has written/will be writing more about this on our blog."
After six weeks, the IMST group saw their systolic blood pressure (the top number) dip nine points on average
Even six weeks after they quit doing IMST, the IMST group maintained most of that improvement.
that's pretty impressive! Thanks for the update.
Indeed, it looks like property taxes average a third of US rates in the EU. Calculating the real cost of ownership over a length of time (thirty years, say) would be interesting.
I've done some of it because of reduced lung capacity from childhood asthma, but am not under the impression that it replicates any of the benefits of cardio.
Weighted step ups instead of squats can be loaded quite heavy. Hyperextensions, one-legged hypers, and reverse hyperextensions can work the posterior chain with 1/2-1/3 the load on the spine as deadlifts. Bench doesn't exactly load the spine but it is the most dangerous lift going by statistics (dropping the weight on yourself is the most common severe gym accident) and can be replaced with incline bench, dumbbell shoulder presses, and/or dips.
I think this is a reasonable hypothesis, as someone who has experienced some similar things, though not as distinctly as yours it sounds like. More generally, the whole sensate volume occurs 'inside your brain', so there's no reason other than practical usefulness that the mind can't render physical sensations as 'over there' the same way it renders sounds as 'over there', after all, you don't experience sounds as occurring at your ears.
An interesting related phenomena is that the body map can be weird compared to our visual and kinesthetic map of where things are 'supposed' to be occurring. So when doing body scans and back felt quite blank compared to the front, when I investigated it felt as if there were sensations way behind me, like the body was expanding. On reflection, I think this is just that the body wasn't used to noticing sensations back there and so didn't quite know how to map it immediately. Other body shrinking or expanding sensations seem similar to me. So if the body is used to experiencing 20 sensations per inch and suddenly feels 40, it might initially map this to the area having doubled in physical size.
I have found a lot of online summaries of deliberate practice frustratingly vague. So I bought a well reviewed out of print manual on deliberate practice in music called The Practiceopedia. The chapter headings give some ideas about the sort of resolution being gone for. I might do a book review at some point.
Chapter guide
Beginners: curing your addiction to the start of your peace
Blinkers: shutting out the things you shouldn't be working on
Boot camp: where you need to send passages that won't behave
Breakthroughs diary: keeping track of your progress
Bridging: smoothing the bumps between sections
Bug spotting: because you can't fix what you don't know about
Campaigns: connecting your daily practice to the big picture
Cementing: locking in the version you want to keep
Chaining: getting to full speed one segment at a time
Clearing obstacles: finding what causes tricky bits to be tricky
Clock Watchers: curing the unhealthy obsession with time
Closure: knowing when you can safely stop practicing something
Color coding: a whole new dimension to marking your score
Coral reef mistakes: detecting invisible trouble spots
Cosmetics: minimizing the impact of weak capacities on concert day
Countdown charts: factoring your deadlines into your practice
Designer scales: choosing technical work to support your pieces
Details trawl: ensuring you know what's really in the score
Dress rehearsals: setting up your own concert simulator
Engaging autopilot: the dangers of practicing without thinking
Exaggerating: overstating key ideas to embed them
Excuses and ruses: why you'll never really fool your teacher if you haven't practiced
Experimenting: testing different interpretation options
Fire drills: training to cope gracefully with onstage mistakes
Fitness training: behind the scenes practice to help all your pieces
Fresh photocopies: creating your own custom scores tailored for practicing
Horizontal versus vertical: knowing when to change your practice Direction
Isolating: stopping problems from interfering with each other
Lesson agenda: setting aside issues to raise at your next lesson
Lesson pre-flight check: finding out if you're on track for next lesson
Lesson review: ensuring last lesson is fresh in your mind while you work
Level system: the astonishing power of Tiny Steps
Marathon week: pushing yourself to find out what's really possible
Metronome method: sneaking up on full tempo
Not wanting to practice: how to manage the biggest practice crisis of all
One Way doors: eliminating the need for constant revision
Openings and endings: VIP attention for the most important parts of any performance
Painting the scene: giving your performances a cinematic Edge
Practice Buddies: using the power of competition and cooperation
Practice traps: bad habits that waste your time and wreck your playing
Pressure testing: ensuring you can produce your best playing when it counts most
Randomizing: the ultimate way to end the practice ho hums
Prototypes: building a model of the ideal performance
Recording yourself: finding out and responding to what you really sound like
Recordings: using existing performances to supercharge your preparation
Reflecting: why the best practice sometimes makes no sound at all
Restoration: relearning old pieces without regressing
Rogue cells: when the smallest unit of practice goes bad
Scouting: getting to know your new piece before you start practicing it
Session agenda: creating and working with daily practice to do lists
Shooting the movies: a smarter way to work out what's next
Speeding: the hidden damage caused by practicing too fast
Stalling: what to do when a piece gets stuck
Thematic practice: a powerful alternative to practicing in sections
Tightening: making the leap from good enough to excellent
Triage: when there's too much to do and not enough time to do it
Triggers: setting up cues that get you practicing in the first place
Turn around time: mastering new pieces in weeks instead of months
Varying your diet: freeing yourself from dull repetitive practice
Visualizing: the most important practice you'll ever do
Your practice sweet spot: setting up the ultimate practice space