Previously, Rosenberg has described how jazz musicians (1945-60) learned to exploit cognitive bifurcations in melody, harmony, harmonic rhythm and percussive rhythm, which proved central to Be Bop's accelerating improvisational and compositional complexity. These bifurcations are extrinsic, visible in music notation, and hint at intrinsic neuro-phenomenological processes enabling spontaneous creativity during jazz performance. Following Francisco Varela, Rosenberg argues that a jazz musician is a cognitive multiplicity, with different time-scales operating simultaneously during performance, sometimes at cross-purposes, sometimes in synchrony. Rosenberg will contrast the dysfunctional aspects of jazz, when performers describe “getting lost,” with experiences of optimal performance, to help visualize these different time-scales. By illustrating how competing forms of time cognition seek synchrony when performing jazz Rosenberg then proposes a direct connection between jazz aesthetics and micro-politics.