Similar things come up in the theory of musical composition where you create and resolve "tension," and you can drive the listeners perceptions by loading them up with mental anchors to notes and then resolving them all at once. If you learn to play any Bach, you can begin to see and articulate how he discovered it. Eric Weinsteins example of pro wrestling is identifying where it appears in narrative, but there are analogous concepts in areas like so-called, "neuro linguistic programming," where ideas are "stacked," and then collapsed into a conclusion. I only know about that part of it because I have some very diverse and interesting friends.
As a writer, I use a similar technique all the time, but in smaller more digestible loops, and only rarely with enough to take the reader into that kind of "hall of mirrors," effect great fiction writers use, where each new sentence introduces plot elements that cascade back through the story and closes loops on ideas you have already set up. Mystery novels are a the most simple example of it, where at the end _it all falls into place_.
Great auteur films like 13 Conversations About One Thing, and any Cohen Brother's pic uses a similar device.
Anyway it's fun and addictive, and while I'm sure smarter people than me have a more coherent theory of it, I can see why this fellow thinks it's important.
When you think about it, how our mind works is fundamentally the only actual problem. Everything else is just an artifact of it.