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Javier E

Losing Our Touch - NYTimes.com - 0 views

opinionator.blogs.nytimes.com/...losing-our-touch

sense perception touch love sex carnality

shared by Javier E on 25 Mar 15 - No Cached
  • Are we losing our senses? In our increasingly virtual world, are we losing touch with the sense of touch itself? And if so, so what?
  • Tactility is not blind immediacy — not merely sensorial but cognitive, too. Savoring is wisdom; in Latin, wisdom is “sapientia,” from “sapere,” to taste. These carnal senses make us human by keeping us in touch with things, by responding to people’s pain
  • But Aristotle did not win this battle of ideas. The Platonists prevailed and the Western universe became a system governed by “the soul’s eye.” Sight came to dominate the hierarchy of the senses, and was quickly deemed the appropriate ally of theoretical ideas.
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  • Western philosophy thus sprang from a dualism between the intellectual senses, crowned by sight, and the lower “animal” senses, stigmatized by touch.
  • opto-centrism prevailed for over 2,000 years, culminating in our contemporary culture of digital simulation and spectacle. The eye continues to rule in what Roland Barthes once called our “civilization of the image.” The world is no longer our oyster, but our screen.
  • our current technology is arguably exacerbating our carnal alienation. While offering us enormous freedoms of fantasy and encounter, digital eros may also be removing us further from the flesh
  • The move toward excarnation is apparent in what is becoming more and more a fleshless society. In medicine, “bedside manner” and hand on pulse has ceded to the anonymous technologies of imaging in diagnosis and treatment. In war, hand-to-hand combat has been replaced by “targeted killing” via remote-controlled drones.
  • certain cyber engineers now envisage implanting transmission codes in brains so that we will not have to move a finger — or come into contact with another human being — to get what we want.
  • We need to return from head to foot, from brain to fingertip, from iCloud to earth. To close the distance, so that eros is more about proximity than proxy. So that soul becomes flesh, where it belongs. Such a move, I submit, would radically alter our “sense” of sex in our digital civilization. It would enhance the role of empathy, vulnerability and sensitivity in the art of carnal love, and ideally, in all of human relations. Because to love or be loved truly is to be able to say, “I have been touched.”
qkirkpatrick

Woodward & Maple: When perception is reality - 0 views

www.hometownlife.com/...24507327

sense perception reality

shared by qkirkpatrick on 09 Mar 15 - No Cached
  • The question – and ensuing answers – elicited such passion and consternation that a war of words broke out on line before the scientists explained how two people, looking at the same image, may perceive color differently depending on our interpretation of ambient light cues
  • perception, like it or not, is reality.
  • s. The matter at hand includes soothing the jitters of now-wary customers and employees that it’s safe to visit, and that a bankruptcy doesn’t necessarily mean a business will soon go bust.
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  • The fight to change perception might leave some black and blue marks, but it’s one too important to ignor
qkirkpatrick

How emotions, ideas and senses influence our color perception - NewsWorks - 0 views

www.newsworks.org/...ffect-our-perception-of-color-

emotions ideas senses perception brain science

shared by qkirkpatrick on 08 Mar 15 - No Cached
  • It is based in part on color investigations by the mid-century artist Josef Albers, a professor at Bauhaus and later at Yale University, then solidified in 1980 by the pop-culture bestseller "Color Me Beautiful," a personal color analysis system that categorized people as seasons. It's still not clear why certain colors affect us in certain ways.
  • "People put those ideas on color. There's historical references and cultural experience," said Quellman. "I think you can use any color, anywhere. It has more to do with harmony – how color works together."
  • certain colors is that color never exists on its own. It always appears with other colors around it. It's hard – impossible, really – to isolate a color as an emotional trigger.
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  • Scientists have done studies where they give people different colored candies and ask if they taste differently
  • Your brain is constantly filtering it through your sense of taste, touch, smell, and – most importantly – your memories.
  • The human eye is actually really bad at perceiving color.
  • Your brain has to fill in the gaps.
  • "When color is processed by the brain, a lot of information has to be extracted from not very much incoming information," said Mathan. "The color that we perceive doesn't correspond - at all - with the colors that are in the world."
qkirkpatrick

Human Perception: Making Sense of the World - Mind and Body - Utne Reader - 0 views

www.utne.com/...n-perception-ze0z1501zhur.aspx

perception sense brain science

shared by qkirkpatrick on 16 Jan 15 - No Cached
  • We encounter, in each nanosecond of our lives, billions of sensations, some of which we are aware and many, many more of which we are not.
  • The vast majority of these sensations are ignored by our conscious mind, while those that we recognize and name become perceptions—categorized sensations of which we are consciously aware
  • Though neither person may be aware of it, the skin and bones of both their bodies receive thousands of simultaneous touches—the smooth warmth of the coffee mug beneath the fingers, the hard wood of the chair on the sit bones, the soft rubber of the mat under their feet, and the cool metal of the table under their wrists.
  • qkirkpatrick on 16 Jan 15
     
    Everything we perceive is constructed by the brain.
katedriscoll

Linking Arts, Math, Perception and Emotions | TOKTalk.net - 0 views

www.toktalk.net/...s-math-perception-and-emotions

shared by katedriscoll on 15 Jan 21 - No Cached
  • It is a powerful illustration on how a visual representation (sense perception!) of numbers in the form of colorful dots greatly helps in understanding statistics. Tables with numbers alone are too difficult to perceive. Rosling’s computer program makes these numbers accessible.
  • It links the areas of knowledge arts, statistics (math), with the ways of knowing sense perception and emotions
margogramiak

We hear what we expect to hear -- ScienceDaily - 0 views

www.sciencedaily.com/...210108120110.htm

shared by margogramiak on 17 Jan 21 - No Cached
  • Despite senses being the only window to the outside world, people do rarely question how faithfully they represent the external physical reality.
  • Despite senses being the only window to the outside world, people do rarely question how faithfully they represent the external physical reality.
    • margogramiak
      margogramiak on 17 Jan 21
       
      We've questioned our senses A LOT in TOK!
  • the cerebral cortex constantly generates predictions on what will happen next, and that neurons in charge of sensory processing only encode the difference between our predictions and the actual reality.
    • margogramiak
      margogramiak on 17 Jan 21
       
      That's really interesting. We've touched on similar concepts, but nothing exactly like this.
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  • that not only the cerebral cortex, but the entire auditory pathway, represents sounds according to prior expectations.
    • margogramiak
      margogramiak on 17 Jan 21
       
      So, multiple parts of our brain make predictions about what's going to happen next.
  • Although participants recognised the deviant faster when it was placed on positions where they expected it, the subcortical nuclei encoded the sounds only when they were placed in unexpected positions.
    • margogramiak
      margogramiak on 17 Jan 21
       
      That's interesting. How will this research affect medicine etc?
  • Predictive coding assumes that the brain is constantly generating predictions about how the physical world will look, sound, feel, and smell like in the next instant, and that neurons in charge of processing our senses save resources by representing only the differences between these predictions and the actual physical world.
    • margogramiak
      margogramiak on 17 Jan 21
       
      I remember from class that the brain looks for patterns with its senses. Does that apply here?
  • e have now shown that this process also dominates the most primitive and evolutionary conserved parts of the brain. All that we perceive might be deeply contaminated by our subjective beliefs on the physical world."
    • margogramiak
      margogramiak on 17 Jan 21
       
      Perception is crazy...
  • Developmental dyslexia, the most wide-spread learning disorder, has already been linked to altered responses in subcortical auditory pathway and to difficulties on exploiting stimulus regularities in auditory perception.
    • margogramiak
      margogramiak on 17 Jan 21
       
      That's interesting. I can see why that would affect learning.
Emily Horwitz

Can you spot the fake objects among the real ones? | Unplugged - Yahoo! Games - 0 views

games.yahoo.com/...among-real-ones-195357959.html

sense perception knowledge optical illusions

shared by Emily Horwitz on 29 Nov 12 - No Cached
  • Emily Horwitz on 29 Nov 12
     
    A cool video of an optical illusion that shows that our sense perception is not always correct; using the technique of anamorphosis, images are distorted so that they only appear correct from a certain angle.
  • Emily Horwitz on 29 Nov 12
kirkpatrickry

Wiretapping the senses: Scientists monitor conversation between sensory perception, beh... - 0 views

www.sciencedaily.com/...160602132636.htm

senses perception

shared by kirkpatrickry on 03 Jun 16 - No Cached
  • Many types of sensory information enter the brain at a structure called the primary sensory cortex, where they are processed by different layers of cells in ways that ultimately influence an animal's perception and behavioral response.
  • An ultimate goal of neurobiological research is to understand how a brain integrates a constant flow of various types of stimuli, makes sense of it, and helps coordinate an appropriate behavioral respons
  • Understanding the most basic principles of this system will require careful studies of regions of animal brains that are simple enough to keep track of nerve impulses as they enter, and yet complex enough to follow different types of signals as they exit along different routes.
Javier E

Reality is your brain's best guess - Big Think - 0 views

bigthink.com/...ty-brain-predictive-processing

reality brain guess predictive processing misinformation self psychology

shared by Javier E on 16 Jul 23 - No Cached
  • Andy Clark admits it’s strange that he took up “predictive processing,” an ambitious leading theory of how the brain works. A philosopher of mind at the University of Sussex, he has devoted his career to how thinking doesn’t occur just between the ears—that it flows through our bodies, tools, and environments. “The external world is functioning as part of our cognitive machinery
  • But 15 years ago, he realized that had to come back to the center of the system: the brain. And he found that predictive processing provided the essential links among the brain, body, and world.
  • There’s a traditional view that goes back at least to Descartes that perception was about the imprinting of the outside world onto the sense organs. In 20th-century artificial intelligence and neuroscience, vision was a feed-forward process in which you took in pixel-level information, refined it into a two and a half–dimensional sketch, and then refined that into a full world model.
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  • a new book, The Experience Machine: How Our Minds Predict and Shape Reality, which is remarkable for how it connects the high-level concepts to everyday examples of how our brains make predictions, how that process can lead us astray, and what we can do about it.
  • being driven to stay within your own viability envelope is crucial to the kind of intelligence that we know about—the kind of intelligence that we are
  • If you ask what is a predictive brain for, the answer has to be: staying alive. Predictive brains are a way of staying within your viability envelope as an embodied biological organism: getting food when you need it, getting water when you need it.
  • in predictive processing, perception is structured around prediction. Perception is about the brain having a guess at what’s most likely to be out there and then using sensory information to refine the guess.
  • artificial curiosity. Predictive-processing systems automatically have that. They’re set up so that they predict the conditions of their own survival, and they’re always trying to get rid of prediction errors. But if they’ve solved all their practical problems and they’ve got nothing else to do, then they’ll just explore. Getting rid of any error is going to be a good thing for them. If you’re a creature like that, you’re going to be a really good learning system. You’re going to love to inhabit the environments that you can learn most from, where the problems are not too simple, not too hard, but just right.
  • It’s an effect that you also see in Marieke Jepma et al.’s work on pain. They showed that if you predict intense pain, the signal that you get will be interpreted as more painful than it would otherwise be, and vice versa. Then they asked why you don’t correct your misimpression. If it’s my expectation that is making it feel more painful, why don’t I get prediction errors that correct it?
  • The reason is that there are no errors. You’re expecting a certain level of pain, and your prediction helps bring that level about; there is nothing for you to correct. In fact, you’ve got confirmation of your own prediction. So it can be a vicious circle
  • Do you think this self-fulfilling loop in psychosis and pain perception helps to account for misinformation in our society’s and people’s susceptibility to certain narratives?Absolutely. We all have these vulnerabilities and self-fulfilling cycles. We look at the places that tend to support the models that we already have, because that’s often how we judge whether the information is good or not
  • Given that we know we’re vulnerable to self-fulfilling information loops, how can we make sure we don’t get locked into a belief?Unfortunately, it’s really difficult. The most potent intervention is to remind ourselves that we sample the world in ways that are guided by the models that we’ve currently got. The structures of science are there to push back against our natural tendency to cherry-pick.
Javier E

Carl Sagan's Highdeas « The Dish - 0 views

dish.andrewsullivan.com/...carl-sagans-highdeas

marijuana effects absurd

shared by Javier E on 21 Apr 13 - No Cached
  • I do not consider myself a religious person in the usual sense, but there is a religious aspect to some highs. The heightened sensitivity in all areas gives me a feeling of communion with my surroundings, both animate and inanimate. Sometimes a kind of existential perception of the absurd comes over me and I see with awful certainty the hypocrisies and posturing of myself and my fellow men. And at other times, there is a different sense of the absurd, a playful and whimsical awareness. Both of these senses of the absurd can be communicated, and some of the most rewarding highs I’ve had have been in sharing talk and perceptions and humor.
  • Cannabis brings us an awareness that we spend a lifetime being trained to overlook and forget and put out of our minds. A sense of what the world is really like can be maddening; cannabis has brought me some feelings for what it is like to be crazy, and how we use that word ‘crazy’ to avoid thinking about things that are too painful for us
Javier E

Adam Kirsch: Art Over Biology | The New Republic - 1 views

www.tnr.com/...es-darwin-evolution-art-kirsch

art Darwinian evolution success adaptation

shared by Javier E on 01 Aug 12 - Cached
  • Nietzsche, who wrote in Human, All Too Human, under the rubric “Art dangerous for the artist,” about the particular ill-suitedness of the artist to flourishing in a modern scientific age: When art seizes an individual powerfully, it draws him back to the views of those times when art flowered most vigorously.... The artist comes more and more to revere sudden excitements, believes in gods and demons, imbues nature with a soul, hates science, becomes unchangeable in his moods like the men of antiquity, and desires the overthrow of all conditions that are not favorable to art.... Thus between him and the other men of his period who are the same age a vehement antagonism is finally generated, and a sad end
  • What is modern is the sense of the superiority of the artist’s inferiority, which is only possible when the artist and the intellectual come to see the values of ordinary life—prosperity, family, worldly success, and happiness—as inherently contemptible.
  • Art, according to a modern understanding that has not wholly vanished today, is meant to be a criticism of life, especially of life in a materialist, positivist civilization such as our own. If this means the artist does not share in civilization’s boons, then his suffering will be a badge of honor.
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  • The iron law of Darwinian evolution is that everything that exists strives with all its power to reproduce, to extend life into the future, and that every feature of every creature can be explained as an adaptation toward this end. For the artist to deny any connection with the enterprise of life, then, is to assert his freedom from this universal imperative; to reclaim negatively the autonomy that evolution seems to deny to human beings. It is only because we can freely choose our own ends that we can decide not to live for life, but for some other value that we posit. The artist’s decision to produce spiritual offspring rather than physical ones is thus allied to the monk’s celibacy and the warrior’s death for his country, as gestures that deny the empire of mere life.
  • Animals produce beauty on their bodies; humans can also produce it in their artifacts. The natural inference, then, would be that art is a human form of sexual display, a way for males to impress females with spectacularly redundant creations.
  • For Darwin, the human sense of beauty was not different in kind from the bird’s.
  • Still, Darwin recognized that the human sense of beauty was mediated by “complex ideas and trains of thought,” which make it impossible to explain in terms as straightforward as a bird’s:
  • Put more positively, one might say that any given work of art can be discussed critically and historically, but not deduced from the laws of evolution.
  • with the rise of evolutionary psychology, it was only a matter of time before the attempt was made to explain art in Darwinian terms. After all, if ethics and politics can be explained by game theory and reciprocal altruism, there is no reason why aesthetics should be different: in each case, what appears to be a realm of human autonomy can be reduced to the covert expression of biological imperatives
  • Still, there is an unmistakable sense in discussions of Darwinian aesthetics that by linking art to fitness, we can secure it against charges of irrelevance or frivolousness—that mattering to reproduction is what makes art, or anything, really matter.
  • The first popular effort in this direction was the late Denis Dutton’s much-discussed book The Art Instinct, which appeared in 2009.
  • Dutton’s Darwinism was aesthetically conservative: “Darwinian aesthetics,” he wrote, “can restore the vital place of beauty, skill, and pleasure as high artistic values.” Dutton’s argument has recently been reiterated and refined by a number of new books,
  • “The universality of art and artistic behaviors, their spontaneous appearance everywhere across the globe ... and the fact that in most cases they can be easily recognized as artistic across cultures suggest that they derive from a natural, innate source: a universal human psychology.”
  • Again like language, art is universal in the sense that any local expression of it can be “learned” by anyone.
  • Yet earlier theorists of evolution were reluctant to say that art was an evolutionary adaptation like language, for the simple reason that it does not appear to be evolutionarily adaptive.
  • Stephen Jay Gould suggested that art was not an evolutionary adaptation but what he called a “spandrel”—that is, a showy but accidental by-product of other adaptations that were truly functiona
  • the very words “success” and “failure,” despite themselves, bring an emotive and ethical dimension into the discussion, so impossible is it for human beings to inhabit a valueless world. In the nineteenth century, the idea that fitness for survival was a positive good motivated social Darwinism and eugenics. Proponents of these ideas thought that in some way they were serving progress by promoting the flourishing of the human race, when the basic premise of Darwinism is that there is no such thing as progress or regress, only differential rates of reproduction
  • In particular, Darwin suggests that it is impossible to explain the history or the conventions of any art by the general imperatives of evolution
  • Boyd begins with the premise that human beings are pattern-seeking animals: both our physical perceptions and our social interactions are determined by our brain’s innate need to find and to
  • Art, then, can be defined as the calisthenics of pattern-finding. “Just as animal physical play refines performance, flexibility, and efficiency in key behaviors,” Boyd writes, “so human art refines our performance in our key perceptual and cognitive modes, in sight (the visual arts), sound (music), and social cognition (story). These three modes of art, I propose, are adaptations ... they show evidence of special design in humans, design that offers survival and especially reproductive advantages.”
  • make coherent patterns
runlai_jiang

What Is Synesthesia? Definition and Types - 0 views

www.thoughtco.com/a-definition-and-types-4153376

shared by runlai_jiang on 15 Jan 18 - No Cached
  • The term "synesthesia" comes from the Greek words syn, which means "together", and aisthesis, which means "sensation." Synesthesia is a perception in which stimulating one sensory or cognitive pathway  causes experiences in another sense or cognitive pathway. In other words, a sense or concept is connected to a different sense or concept, such as hearing a color or tasting a word. The connection between pathways is involuntary and consistent over time, rather than conscious or arbitrary.
  • Types of SynesthesiaThere are many different types of synesthesia, but they may be categorized as falling into one of two groups: associative synesthesia and projective synesthesia. An associate feels a connection between a stimulus and a sense, w
  • There are at least 80 known types of synesthesia, but some are more common than others: Chromesthesia: In this common form of synesthesia, sounds and colors are associated with each other. For example, the musical note "D" may correspond to seeing the color green.Grapheme-color synesthesia: This is a common form of synesthesia characterized by seeing graphemes (letter or numerals) shaded with a color. Synesthetes don't associate the same colors for a grapheme as each other, although the letter "A" does appear to be red to many individuals. Persons who experience grapheme-color synesthesia sometimes report seeing impossible colors when red and green or blue and yellow graphemes appear next to each other in a word or number. Number form: A number form is a mental shape or map of numbers resulting from seeing or thinking about numbers.Lexical-gustatory synesthesia: This a rare type of synesthesia in which hearing a word results in tasting a flavor. For example, a person's name might taste like chocolate.Mirror-touch synesthesia: While rare, mirror-touch synesthesia is noteworthy because it can be disruptive to a synesthete's life. In this form of synesthesia, an individual feels the same sensation in response to a stimulus as another person. For example, seeing a person being tapped on the shoulder would cause the synesthete to feel a tap on
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  • How Synesthesia WorksScientists have yet to make a definitive determination of the mechanism of synesthesia. It may be due to increased cross-talk between specialized regions of the brain. Another possible mechanism is that inhibition in a neural pathway is reduced in synesthetes, allowing multi-sensory processing of stimuli. Some researchers believe synesthesia is based on the way the brain extracts and assigns the meaning of a stimulus (ideasthesia).
  • Who Has Synesthesia?Julia Simner, a psychologist studying synesthesia at of the University of Edinburgh, estimates at least 4% of the population has synesthesia and that over 1% of people have grapheme-color synesthesia (colored numbers and letters). More women have synesthesia than men. Some research suggests the incidenc
  • Can You Develop Synesthesia?There are documented cases of non-synesthetes developing synesthesia. Specifically, head trauma, stroke, brain tumors, and temporal lobe epilepsy may produce synesthesia. Temporary synesthesia may result from exposure to the psychedelic drugs mescaline or LSD, from sensory deprivation, or from meditation.
sissij

Why Does Time Seem to Move Faster as We Grow Older? | Big Think - 0 views

bigthink.com/...o-move-faster-as-we-grow-older

science brain science psychology

shared by sissij on 08 Feb 17 - No Cached
  • Today it feels like the days peel on by, and a vacation which may last days or weeks is gone in mere hours. This is a common human experience.
  • There are an awful lot of theories that give us insight. But a direct scientific law so far remains elusive.
  • In 1877, the “ratio theory” was born, which states that we compare intervals to the total amount of time we’ve been alive. This can also be called “proportional theory,” the idea that as we age, our sense of the present begins to feel short as compared to our total lifespan.
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  • While youth colors everything anew, as we age, we become more or less familiar with every aspect of our surroundings, and so the nuance wears off.
  • Young people tended to select steady or unchanging metaphors for time, while older people chose those which had to do with swiftness and speed.
  • This creates a “reminiscence bump.” The farther we move away from the bump, the quicker time seems to move.
  • A neurochemical explanation lies in the dopamine level in our brains. This is the pleasure neurotransmitter that gives us a feeling of wellbeing and reward.
  • sissij on 08 Feb 17
     
    I have sometimes think about this issue and the explanation I come up is that when we are seven, one year is one seventh of our live. When we are seventy, the denominator get much bigger and the proportion get significantly smaller, one seventieth. I am very surprised to find that the scientists have similar theory. It also shows how unreliable our sense perception is. We are very unreliable about time since time is a concept that we cannot see or touch. How we feel about time largely depends on our individual emotion. Our brain also tends to remember the first times and we also have a tendency to believe vivid memory. --Sissi (2/8/2017)
lenaurick

Why time seems to speed up as we get older - Vox - 0 views

www.vox.com/...-speed-accelerate-age-new-year

science research psychology knowledge brain science bias

shared by lenaurick on 31 May 16 - No Cached
  • As part of a lifelong experiment on circadian rhythms, Sothern, now 69, is trying to confirm or reject a widely held belief: Many people feel that time flies by more quickly as they age.
  • So far, Sothern's results are inconclusive
  • "I'm tending now to overestimate the minute more than I used to," he tells me. But then again, he had detected a similar pattern — more overestimates — in the 1990s, only to have his estimates fall in the 2000s. "Time estimation isn't a perfect science," he says.
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  • There's very little scientific evidence to suggest our perception of time changes as we age. And yet, we consistently report that the past felt longer — that time is flying by faster as we age. What's going on?
  • Scientists can look at time estimation, or our ability to estimate how long a minute passes, compared with a clock. (This is what Sothern is doing.) They can also look at time awareness, or the broad feeling that time is moving quickly or slowly. Finally there's time perspective, the sense of a past, present, and future as constructed by our memories.
  • What researchers have found out is that while time estimation and time awareness don't change much as we age, time perspective does. In other words: Our memories create the illusion time is accelerating.
  • There weren't many differences between the old and the young. "[C]hronological age showed no systematic influence on the perception of these brief intervals of time up," the authors wrote. (That said, the researchers did find that males overestimate time while females underestimate it, perhaps due to having slightly different circadian clocks and therefore slightly different metabolic rates
  • Here, too, age seemed not to matter. Older people didn't seem to be aware of time passing any faster than younger people. The only question that yielded a statistically significant difference was, "How fast did the last decade pass?" Even there, the reported differences were tiny, and the effect appeared to plateau around age 50.
  • psychologists William Friedman and Steve Janssen found scant evidence that the subjective experience of time speeds up with age. They write in their 2009 paper, "We can concluded that when adults report on their general impressions of the speed of time, age differences are very small."
  • When people reflect back on their own life, they feel like their early years went by very slowly and their later years go by more quickly. This could be the source of the belief that time goes more quickly as they age.
  • One possibility is that participants were simply biased by the (incorrect) conventional wisdom — they reported their later years as flying by more quickly because that's what everyday lore says should happen.
  •  "Most people feel that time is currently passing faster for them than it did in the past," Janssen writes me in an email. "They have forgotten how they experienced the passage of time when they were younger."
  • We use significant events as signposts to gauge the passage of time. The fewer events, the faster time seems to go by.
  • Childhood is full of big, memorable moments like learning to ride a bike or making first friends. By contrast, adult life becomes ordinary and mechanized, and ambles along by.
  • Each passing year converts some of this experience into automatic routine which we hardly notice at all, the days and weeks smooth themselves out in recollection, and the years grow hollow and collapse.
  • Each new minute represents a smaller fraction of our lives. One day as a 10 year old represents about .027 percent of the kid's life. A day for a 60 year old? .0045 percent. The kid's life is just... bigger.
  • Also, our ability to recall events declines with age. If we can't remember a time, it didn't happen.
  • "[F]inding that there is insufficient time to get things done may be reinterpreted as the feeling that time is passing quickly," they write. Deadlines always come sooner than we'd like.
  • Psychologists have long understood the phenomenon called "forward telescoping" — i.e., our tendency to underestimate how long ago very memorable events occurred. "Because we know that memories fade over time, we use the clarity of a memory as a guide to its recency," science writer Claudia Hammond writes in her book Time Warped. "So if a memory seems unclear we assumed it happened longer ago." But very clear memories are assumed to be more recent.
  • If our memories can trick us into thinking time is moving quickly, then maybe there are ways to trick our brains into thinking that time is slowing down — such as committing to breaking routines and learning new things. You're more likely to remember learning how to skydive than watching another hour of mindless television.
kirkpatrickry

Making virtual real: How to hack human perception | The Drum - 0 views

www.thedrum.com/...real-how-hack-human-perception

human perception

shared by kirkpatrickry on 03 Jun 16 - No Cached
  • Everything we do and see is real. It’s all experiential. Nobody has a dream and wakes up feeling like a victim of fraud. It really happened in the sense that we had a genuine dream. So when we talk about virtual reality, what is real and what is virtually real?
  • Suspension of disbelief, what we experienced essential in all mediums before, is not necessary in VR anymore. It’s what all prior mediums require and what VR, when done right, completely circumvents
  • Each and every facet of VR production relies on craft to properly convey an experience to the user and make it enjoyable and believable.
kushnerha

New Ways Into the Brain's 'Music Room' - The New York Times - 5 views

www.nytimes.com/...nto-the-brains-music-room.html

new york times music brain science research language

shared by kushnerha on 08 Feb 16 - No Cached
  • Every culture ever studied has been found to make music, and among the oldest artistic objects known are slender flutes carved from mammoth bone some 43,000 years ago — 24,000 years before the cave paintings of Lascaux.
  • , many researchers had long assumed that the human brain must be equipped with some sort of music room, a distinctive piece of cortical architecture dedicated to detecting and interpreting the dulcet signals of song. Yet for years, scientists failed to find any clear evidence of a music-specific domain through conventional brain-scanning technology
  • devised a radical new approach to brain imaging that reveals what past studies had missed. By mathematically analyzing scans of the auditory cortex and grouping clusters of brain cells with similar activation patterns, the scientists have identified neural pathways that react almost exclusively to the sound of music — any music. It may be Bach, bluegrass, hip-hop, big band, sitar or Julie Andrews. A listener may relish the sampled genre or revile it. No matter. When a musical passage is played, a distinct set of neurons tucked inside a furrow of a listener’s auditory cortex will fire in response.Other sounds, by contrast — a dog barking, a car skidding, a toilet flushing — leave the musical circuits unmoved.
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  • “Why do we have music?” Dr. Kanwisher said in an interview. “Why do we enjoy it so much and want to dance when we hear it? How early in development can we see this sensitivity to music, and is it tunable with experience? These are the really cool first-order questions we can begin to address.”
  • Dr. McDermott said the new method could be used to computationally dissect any scans from a functional magnetic resonance imaging device, or F.M.R.I. — the trendy workhorse of contemporary neuroscience — and so may end up divulging other hidden gems of cortical specialization. As proof of principle, the researchers showed that their analytical protocol had detected a second neural pathway in the brain for which scientists already had evidence — this one tuned to the sounds of human speech.
  • Importantly, the M.I.T. team demonstrated that the speech and music circuits are in different parts of the brain’s sprawling auditory cortex, where all sound signals are interpreted, and that each is largely deaf to the other’s sonic cues, although there is some overlap when it comes to responding to songs with lyrics.
  • In fact, Dr. Rauschecker said, music sensitivity may be more fundamental to the human brain than is speech perception. “There are theories that music is older than speech or language,” he said. “Some even argue that speech evolved from music.”
  • And though the survival value that music held for our ancestors may not be as immediately obvious as the power to recognize words, Dr. Rauschecker added, “music works as a group cohesive. Music-making with other people in your tribe is a very ancient, human thing to do.”
  • when previous neuroscientists failed to find any anatomically distinct music center in the brain, they came up with any number of rationales to explain the results.“The story was, oh, what’s special about music perception is how it recruits areas from all over the brain, how it draws on the motor system, speech circuitry, social understanding, and brings it all together,” she said. Some researchers dismissed music as “auditory cheesecake,” a pastime that co-opted other essential communicative urges. “This paper says, no, when you peer below the cruder level seen with some methodologies, you find very specific circuitry that responds to music over speech.”
  • The researchers wondered if the auditory system might be similarly organized to make sense of the soundscape through a categorical screen. If so, what would the salient categories be? What are the aural equivalents of a human face or a human leg — sounds or sound elements so essential the brain assigns a bit of gray matter to the task of detecting them?
  • Focusing on the brain’s auditory region — located, appropriately enough, in the temporal lobes right above the ears — the scientists analyzed voxels, or three-dimensional pixels, of the images mathematically to detect similar patterns of neuronal excitement or quietude.“The strength of our method is that it’s hypothesis-neutral,” Dr. McDermott said. “We just present a bunch of sounds and let the data do the talking.”
  • Matching sound clips to activation patterns, the researchers determined that four of the patterns were linked to general physical properties of sound, like pitch and frequency. The fifth traced the brain’s perception of speech, and for the sixth the data turned operatic, disclosing a neuronal hot spot in the major crevice, or sulcus, of the auditory cortex that attended to every music clip the researchers had played.
  • “The sound of a solo drummer, whistling, pop songs, rap, almost everything that has a musical quality to it, melodic or rhythmic, would activate it,” Dr. Norman-Haignere said. “That’s one reason the result surprised us. The signals of speech are so much more homogeneous.”
  • The researchers have yet to determine exactly which acoustic features of music stimulate its dedicated pathway. The relative constancy of a musical note’s pitch? Its harmonic overlays? Even saying what music is can be tricky.
Javier E

The Science of Snobbery: How We're Duped Into Thinking Fancy Things Are Better - The At... - 0 views

www.theatlantic.com/...279571

psychology judgment intuition bias unconscious expertise perception

shared by Javier E on 26 Aug 17 - No Cached
  • Expert judges and amateurs alike claim to judge classical musicians based on sound. But Tsay’s research suggests that the original judges, despite their experience and expertise, judged the competition (which they heard and watched live) based on visual information, just as amateurs do.
  • just like with classical music, we do not appraise wine in the way that we expect. 
  • Priceonomics revisited this seemingly damning research: the lack of correlation between wine enjoyment and price in blind tastings, the oenology students tricked by red food dye into describing a white wine like a red, a distribution of medals at tastings equivalent to what one would expect from pure chance, the grand crus described like cheap wines and vice-versa when the bottles are switched.
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  • Taste does not simply equal your taste buds. It draws on information from all our senses as well as context. As a result, food is susceptible to the same trickery as wine. Adding yellow food dye to vanilla pudding leads people to experience a lemony taste. Diners eating in the dark at a chic concept restaurant confuse veal for tuna. Branding, packaging, and price tags are equally important to enjoyment. Cheap fish is routinely passed off as its pricier cousins at seafood and sushi restaurants. 
  • Just like with wine and classical music, we often judge food based on very different criteria than what we claim. The result is that our perceptions are easily skewed in ways we don’t anticipate. 
  • What does it mean for wine that presentation so easily trumps the quality imbued by being grown on premium Napa land or years of fruitful aging? Is it comforting that the same phenomenon is found in food and classical music, or is it a strike against the authenticity of our enjoyment of them as well? How common must these manipulations be until we concede that the influence of the price tag of a bottle of wine or the visual appearance of a pianist is not a trick but actually part of the quality?
  • To answer these questions, we need to investigate the underlying mechanism that leads us to judge wine, food, and music by criteria other than what we claim to value. And that mechanism seems to be the quick, intuitive judgments our minds unconsciously make
  • this unknowability also makes it easy to be led astray when our intuition makes a mistake. We may often be able to count on the price tag or packaging of food and wine for accurate information about quality. But as we believe that we’re judging based on just the product, we fail to recognize when presentation manipulates our snap judgments.
  • Participants were just as effective when watching 6 second video clips and when comparing their ratings to ratings of teacher effectiveness as measured by actual student test performance. 
  • The power of intuitive first impressions has been demonstrated in a variety of other contexts. One experiment found that people predicted the outcome of political elections remarkably well based on silent 10 second video clips of debates - significantly outperforming political pundits and predictions made based on economic indicators.
  • In a real world case, a number of art experts successfully identified a 6th century Greek statue as a fraud. Although the statue had survived a 14 month investigation by a respected museum that included the probings of a geologist, they instantly recognized something was off. They just couldn’t explain how they knew.
  • Cases like this represent the canon behind the idea of the “adaptive unconscious,” a concept made famous by journalist Malcolm Gladwell in his book Blink. The basic idea is that we constantly, quickly, and unconsciously do the equivalent of judging a book by its cover. After all, a cover provides a lot of relevant information in a world in which we don’t have time to read every page.
  • Gladwell describes the adaptive unconscious as “a kind of giant computer that quickly and quietly processes a lot of the data we need in order to keep functioning as human beings.”
  • In a famous experiment, psychologist Nalini Ambady provided participants in an academic study with 30 second silent video clips of a college professor teaching a class and asked them to rate the effectiveness of the professor.
  • In follow up experiments, Chia-Jung Tsay found that those judging musicians’ auditions based on visual cues were not giving preference to attractive performers. Rather, they seemed to look for visual signs of relevant characteristics like passion, creativity, and uniqueness. Seeing signs of passion is valuable information. But in differentiating between elite performers, it gives an edge to someone who looks passionate over someone whose play is passionate
  • Outside of these more eccentric examples, it’s our reliance on quick judgments, and ignorance of their workings, that cause people to act on ugly, unconscious biases
  • It’s also why - from a business perspective - packaging and presentation is just as important as the good or service on offer. Why marketing is just as important as product. 
  • Gladwell ends Blink optimistically. By paying closer attention to our powers of rapid cognition, he argues, we can avoid its pitfalls and harness its powers. We can blindly audition musicians behind a screen, look at a piece of art devoid of other context, and pay particular attention to possible unconscious bias in our performance reports.
  • But Gladwell’s success in demonstrating how the many calculations our adaptive unconscious performs without our awareness undermines his hopeful message of consciously harnessing its power.
  • As a former world-class tennis player and coach of over 50 years, Braden is a perfect example of the ideas behind thin slicing. But if he can’t figure out what his unconscious is up to when he recognizes double faults, why should anyone else expect to be up to the task?
  • flawed judgment in fields like medicine and investing has more serious consequences. The fact that expertise is so tricky leads psychologist Daniel Kahneman to assert that most experts should seek the assistance of statistics and algorithms in making decisions.
  • In his book Thinking, Fast and Slow, he describes our two modes of thought: System 1, like the adaptive unconscious, is our “fast, instinctive, and emotional” intuition. System 2 is our “slower, more deliberative, and more logical” conscious thought. Kahneman believes that we often leave decisions up to System 1 and generally place far “too much confidence in human judgment” due to the pitfalls of our intuition described above.
  • Not every judgment will be made in a field that is stable and regular enough for an algorithm to help us make judgments or predictions. But in those cases, he notes, “Hundreds of studies have shown that wherever we have sufficient information to build a model, it will perform better than most people.”
  • Experts can avoid the pitfalls of intuition more easily than laypeople. But they need help too, especially as our collective confidence in expertise leads us to overconfidence in their judgments. 
  • This article has referred to the influence of price tags and context on products and experiences like wine and classical music concerts as tricks that skew our perception. But maybe we should consider them a real, actual part of the quality.
  • Losing ourselves in a universe of relativism, however, will lead us to miss out on anything new or unique. Take the example of the song “Hey Ya!” by Outkast. When the music industry heard it, they felt sure it would be a hit. When it premiered on the radio, however, listeners changed the channel. The song sounded too dissimilar from songs people liked, so they responded negatively. 
  • It took time for people to get familiar with the song and realize that they enjoyed it. Eventually “Hey Ya!” became the hit of the summer.
  • Many boorish people talking about the ethereal qualities of great wine probably can't even identify cork taint because their impressions are dominated by the price tag and the wine label. But the classic defense of wine - that you need to study it to appreciate it - is also vindicated. The open question - which is both editorial and empiric - is what it means for the industry that constant vigilance and substantial study is needed to dependably appreciate wine for the product quality alone. But the questions is relevant to the enjoyment of many other products and experiences that we enjoy in life.
  • Maybe the most important conclusion is to not only recognize the fallibility of our judgments and impressions, but to recognize when it matters, and when it doesn’t
Javier E

Our Dangerous Inability to Agree on What is TRUE | Risk: Reason and Reality | Big Think - 2 views

bigthink.com/...ility-to-agree-on-what-is-true

bias perception motivated reasoning truth morality psychology

shared by Javier E on 02 Mar 12 - Cached
  • Given that human cognition is never the product of pure dispassionate reason, but a subjective interpretation of the facts based on our feelings and biases and instincts, when can we ever say that we know who is right and who is wrong, about anything? When can we declare a fact so established that it’s fair to say, without being called arrogant, that those who deny this truth don’t just disagree…that they’re just plain wrong.
  • This isn’t about matters of faith, or questions of ultimately unknowable things which by definition can not be established by fact. This is a question about what is knowable, and provable by careful objective scientific inquiry, a process which includes challenging skepticism rigorously applied precisely to establish what, beyond any reasonable doubt, is in fact true.
  • With enough careful investigation and scrupulously challenged evidence, we can establish knowable truths that are not just the product of our subjective motivated reasoning.
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  • This matters for social animals like us, whose safety and very survival ultimately depend on our ability to coexist. Views that have more to do with competing tribal biases than objective interpretations of the evidence create destructive and violent conflict. Denial of scientifically established ‘truth’ cause all sorts of serious direct harms. Consider a few examples; • The widespread faith-based rejection of evolution feeds intense polarization. • Continued fear of vaccines is allowing nearly eradicated diseases to return. • Those who deny the evidence of the safety of genetically modified food are also denying the immense potential benefits of that technology to millions. • Denying the powerful evidence for climate change puts us all in serious jeopardy should that evidence prove to be true.
  • To address these harms, we need to understand why we often have trouble agreeing on what is true (what some have labeled science denialism). Social science has taught us that human cognition is innately, and inescapably, a process of interpreting the hard data about our world – its sights and sound and smells and facts and ideas - through subjective affective filters that help us turn those facts into the judgments and choices and behaviors that help us survive. The brain’s imperative, after all, is not to reason. It’s job is survival, and subjective cognitive biases and instincts have developed to help us make sense of information in the pursuit of safety, not so that we might come to know ‘THE universal absolute truth
  • This subjective cognition is built-in, subconscious, beyond free will, and unavoidably leads to different interpretations of the same facts.
  • But here is a truth with which I hope we can all agree. Our subjective system of cognition can be dangerous.
  • It can produce perceptions that conflict with the evidence, what I call The Perception Gap, which can in turn produce profound harm
  • We need to recognize the greater threat that our subjective system of cognition can pose, and in the name of our own safety and the welfare of the society on which we depend, do our very best to rise above it or, when we can’t, account for this very real danger in the policies we adopt.
  • "Everyone engages in motivated reasoning, everyone screens out unwelcome evidence, no one is a fully rational actor. Sure. But when it comes to something with such enormous consequences to human welfare
  • I think it's fair to say we have an obligation to confront our own ideological priors. We have an obligation to challenge ourselves, to push ourselves, to be suspicious of conclusions that are too convenient, to be sure that we're getting it right.
pier-paolo

THE CLOSE READER; Powers of Perception - The New York Times - 0 views

www.nytimes.com/...ader-powers-of-perception.html

shared by pier-paolo on 02 Nov 20 - No Cached
  • Keller's writing jars the contemporary reader in three ways. First, she composes in the grandiose manner favored by the late-19th-century genteel essayist, with lots of quotations and inverted sentences. Second, she gushes with a girlish gratefulness that registers, in our more cynical time, as more ingratiating than genuine
  • Keller violates a cardinal rule of autobiography, which is to distinguish what you have been told from what you know from experience. She narrates, as if she knew them firsthand, events from very early childhood and the first stages of her education -- neither of which she could possibly remember herself, at least not in such detail.
  • When Keller's book came out in 1903, she was criticized by one reviewer for her constant, un-self-conscious allusions to color and music. ''All her knowledge is hearsay knowledge,'' this critic wrote in The Nation, ''her very sensations are for the most part vicarious, and yet she writes of things beyond her powers of perception with the assurance of one who has verified every word.'
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  • Maybe Shattuck is right and we are all like this -- creatures of language, rather than its masters. Much of what we think we know firsthand we probably picked up from books or newspapers or friends or lovers and never checked against the world at all.
  • Her ability to experience what others felt and heard, she said, illustrated the power of imagination, particularly one that had been developed and extended, as hers was, by books.
  • What she knew of her own observation is exactly what we want to know from her. We want to know what it felt like to be Helen Keller. We want to locate the boundaries between what was real to her and what she was forced to imagine. At least in this book, she seems not to have known where that boundary might lie.
  • He tries to remember what he looks like and discovers that he cannot. He asks: ''To what extent is loss of the image of the face connected with loss of the image of the self? Is this one of the reasons why I often feel that I am mere spirit, a ghost, a memory?''
  • Keller, in short, matured, both as a person and a writer. She mastered a lesson that relatively few with all their senses have ever mastered, which is to write about what you know.
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