Watching this discussion around 1:15, it strikes me that there is some essential missing life-experience here on the part of Sinix & Zapata. They are groping to understand what is commonly referred to as "muscle memory". I have experienced this phenomena in sports, performing live music, self-defense, and now art. When you are first learning a process, everything is routed through a very delibrate "frontal cortex" cognitive processes. You are using a "general purpose" portion of your brain to carefully think through something new to you. However, after some amount of practice-time, your brain grows the necessary pathways to perform certain tasks (like Sinix's example of a drummer doing syncopation) so that these actions become "automatic" and (cognitively) much, much faster than having to effectively "think them out". That's why they speak about "letting yourself go" in art (or music). All that really is happening in that case is that you are getting your slow, cumbersome, frontal-cortex "self" out of the way so that the fast-path reflexes can take over. Those reflexes are super-efficient at doing pre-learned, repetitive actions only...not new tasks. This is the origin of the phrase "don't over think it". Sinix is clearly in the early stages "just getting into music". Hence his enthusiasm, and need to disect the various elements with his cognition, in order to break it down into elements to practice. That's exactly where I am right now with art. It's a new skill and so takes a lot of time and thought. Other, older, skills like playing soccer...I just do the mechanics subconsciously, freeing the conscious "self" to do things like focus on strategy, since tactics are now "hard-wired". The other thing I noticed was that, unlike Marshall---who has a later-in-life generalist's interest in eclectic minutia---the younger crowd has a much more career (or "what will be my functional place in the world") focus to their mental exploration. What's "interesting" is almost wholly a function of what you still need to learn.