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sissij

How Does Expectation Affect Perception - 3 views

  • One important fact is that the brain works in some ways like television transmission, in that it processes stable backgrounds without much attention and moving parts more intensely and differently.
  • Recent research in babies shows that they respond most to unexpected events and use these to evaluate the environment and learn.
  • But, the over arching analysis of visual signals depends on what is expected.
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  • Picture of bright light causes eye pupils to react, as if a real light.
  • Good hitters in baseball view the ball as larger.
  • Large people judge the absolute measurement of a doorway as more narrow than others will.
  • Words and thoughts alter sensory information:
  • She kicked the ball” or “grasped the subject” stimulates the leg or arm brain regions related to kicking or grasping.
  • Experienced observers of ballet or classical Indian dance who have never danced, when watching a dance stimulate specific muscles of the dance.
  • The brain has many interacting pathways and loops that create expectations with different probabilities from our previous experiences.
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    I found this article very interesting because it explains some aspects of how our expectation can influence our perception. In this article, language is also mentioned that different vocabulary can alter our perception. I think this can be related to the definition of words we talked about recently. I think this article suggests that the definition of a word is the result of our expectation as we often define things differently in our favor if no clear definition is stated. This relationship can also be reversed as we use definitions to describe and organize our expectation. --Sissi (11/16/2016)
Javier E

Fortnite has reached The End - changing video game storytelling for good | Games | The ... - 0 views

  • There is no conventional “narrative” to Fortnite Battle Royale – Epic doesn’t provide an origin story for its endless 100-player wars, it doesn’t give us long cinematic scenes with characters explaining the world, the factions and the plot. Instead, Fortnite is split into a series of three-month-long seasons, each with a climactic event that suggests some kind of interdimensional struggle taking place over the future of the game’s isolated island locale.
  • Ostensibly, there’s no need for a narrative – Epic could, in theory, retain player interest simply by making sure there is a steady supply of new dance moves, costumes and scenic features to enjoy. Instead, the studio has built a vast functional universe in which an alien known as The Visitor is attempting to mend the space-time fissure around the island, and communicated this through systems of signs, signals and miracles – sort of like the Medieval Christian church
  • Indeed, it’s interesting how Fortnite has co-opted a lot of religious symbolism into the game’s suggestive narrative, from comets trailing across the sky, to the decidedly apocalyptic imagery of fire, brimstone and global destruction.
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  • We have seen the rise of massively multiplayer adventures such as World of Warcraft, where global arching narratives are woven into the largely player-directed quests, and we have seen plenty of interesting live story experiments, such as the mostly single-player adventure Dark Souls allowing players to leave messages to each other within the game.
  • Fortnite has been criticised as a shallow, cynical machine of compulsion, its trendy dances and outlandish outfits a means of ensnaring younger players. But as a purveyor of new forms of storytelling, in which the community is left to construct its own narrative based around subtle semiotic systems and climactic events, it is a fascinating innovator.
  • For Season 10, Epic was always building toward something vast and catastrophic and upped the narrative signalling accordingly. Throughout the last months players have been able to find audiotapes hidden around the map in which The Visitor has made recordings about his attempts to fix a loop in time and prevent a singularity. It sounds like the ravings of a conspiracy theorist, echoing back the most extreme theories from the fanbase itself
  • But Fortnite is playing with storytelling concepts, tropes and systems while also providing a piece of blockbuster entertainment for millions of mostly teenage players. It’s like a new Marvel superhero movie being performed entirely in interpretive dance.
  • When Chapter 2 inevitably begins, bringing a new landscape with new gameplay features, it will be interesting to see where Epic goes next on its somewhat transgressive storytelling odyssey. It is, after all, quite hard to top the end of the world as a narrative device.
kaylynfreeman

Why Lack of Human Touch Can Be Difficult Amid Coronavirus | Time - 1 views

  • With people around the world practicing social distancing and self-isolation to curb the further spread of coronavirus, some are starting to feel the effects of a lack of human touch.
  • “Touch is the fundamental language of connection,” says Keltner. “When you think about a parent-child bond or two friends or romantic partners, a lot of the ways in which we connect and trust and collaborate are founded in touch.”
  • It’s not just about how we feel emotionally. Keltner adds that “touch deprivation” can impact people on a psychological and even physical level
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  • “Big parts of our brains are devoted to making sense of touch and our skin has billions of cells that process information about it,”
  • “The right type of friendly touch—like hugging your partner or linking arms with a dear friend—calms your stress response down. [Positive] touch activates a big bundle of nerves in your body that improves your immune system, regulates digestion and helps you sleep well. It also activates parts of your brain that help you empathize.”
  • Psychologist Sheldon Cohen and other researchers at Carnegie Mellon University cited hugging specifically as a form of touch that can strengthen the immune system in a 2014 study investigating whether receiving hugs—and more broadly, social support that gives the perception that one is cared for—could make people less susceptible to one of the viruses that causes the common cold.
  • Broadly speaking, the participants who had reported having more social support were less likely to get sick—and those who got more hugs were far more likely to report feeling socially supported.
  • Everybody should be open to people being a little more socially distant and not touching as much. Some of it will return and some of it won’t.”
  • Although there’s no exact substitute for human touch, if you’re struggling with this aspect of self-isolating in particular, there are a few alternatives that can offer similar health benefits for people who are social distancing
  • “When we’re touched [in a positive way], a cascade of events happens in the brain and one of the important ones is the release of a neurochemical called oxytocin,”
  • Keltner adds that dancing, singing or doing yoga with others via an online platform can also be highly effective substitutes for physical contact
  • “Not only would it be good to prevent coronavirus disease; it probably would decrease instances of influenza dramatically in this country,”
  • Zak says U.S. customs like shaking hands and hugging may be changed forever and suggests that non-tactile greetings like a nod, bow or wave may come to replace them. However, he says it will still be important to find ways to reintroduce the humanity of positive touch into in-person interactions without putting anyone’s physical or mental health in jeopardy.
  • “In-person interactions have a big effect on the brain releasing oxytocin, but interacting via video is actually not that [different],” he explains. “It’s maybe 80% as effective. Video conferencing is a great way to see and be seen.”
  • But for those who are quarantining alone or with people with whom they don’t have physical contact, loneliness and social isolation are growing health concerns.
  • this process reduces stress and improves immunity. “That’s super valuable in a time of pandemic.”
  • If you’re using a video chat service for work or school, Zak recommends that you take five minutes at the beginning of the call to focus on interpersonal connection.
  • to illustrate how dance parties like Daybreaker can be beneficial for people’s physical and mental health. “When you create a dance experience driven by music, community and participation, that’s how you’re able to release all four happy brain chemicals,” Agrawal says.
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    Touch has a great impact on our brains and our reactions amid coronavirus separation. There are a few substitutes for human touch, like yoga and facetime, that we can all try.
Javier E

Martha C. Nussbaum and David V. Johnson: The New Religious Intolerance - 2 views

  • you analyze fear as the emotion principally responsible for religious intolerance. You label fear the “narcissistic emotion.” But why think that the logic of fear—erring on the side of caution (“better to be safe than sorry”)—is narcissism rather than just good common sense, especially in an era of global terrorism and instability? MN: Biological and psychological research on fear shows that it is in some respects more primitive than other emotions, involving parts of the brain that do not deal in reflection and balancing. It also focuses narrowly on the person’s own survival, which is useful in evolutionary terms, but not so useful if one wants a good society. These tendencies to narrowness can be augmented, as I show in my book, through rhetorical manipulation. Fear is a major source of the denial of equal respect to others. Fear is sometimes appropriate, of course, and I give numerous examples of this. But its tendencies toward narrowness make it easily manipulable by false information and rhetorical hype.
  • DJ: In comparing fear and empathy, you say that empathy “has its own narcissism.” Do all emotions have their own forms of narcissism, and if so, why call fear "a narcissistic emotion"? MN: What I meant by my remarks about empathy is that empathy typically functions within a small circle, and is activated by vivid narratives, as Daniel Batson’s wonderful research has shown. So it is uneven and partial. But it is not primarily self-focused, as fear is. As John Stuart Mill said, fear tells us what we need to protect against for ourselves, and empathy helps us extend that protection to others.
  • MN: I think it’s OK to teach religious texts as literature, but better to teach them as history and social reality as part of learning what other people in one’s society believe and take seriously. I urge that all young people should get a rich and non-stereotypical understanding of all the major world religions. In the process, of course, the teacher must be aware of the multiplicity of interpretations and sects within each religion
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  • DJ: Of the basic values of French liberalism—liberty, equality, and fraternity—the last, fraternity, always seems to get short shrift. Your book, by contrast, argues that religious tolerance and liberalism in general can only flourish if people cultivate active respect, civility, and civic friendship with their fellow citizens. If this is so crucial, why do traditional liberals fail to make it more central to their program?
  • MN: I think liberals associate the cultivation of public emotion with fascism and other illiberal ideologies. But if they study history more closely they will find many instances in which emotions are deliberately cultivated in the service of liberal ideals. My next book, Political Emotions, will study all of this in great detail. Any political principles that ask people to go beyond their own self-interest for the sake of justice requires the cultivation of emotion.
  • we should confront sexism by argument and persuasion, and that to render all practices that objectify women illegal would be both too difficult (who would judge?) and too tyrannical.
  • critics of the burqa typically look at the practices of others and find sexism and “objectification” of women there, while failing to look at the practices of the dominant culture, which are certainly suffused with sexism and objectification. I was one of the feminist philosophers who wrote about objectification as a fundamental problem, and what we were talking about was the portrayal of women as commodities for male use and control in violent pornography, in a great deal of our media culture, and in other cultural practices, such as plastic surgery. I would say that this type of objectification is not on the retreat but may even be growing. Go to a high school dance—even at a high-brow school such as the John Dewey Laboratory School on our campus [at the University of Chicago]—and you will see highly individual and intelligent teenage girls marketing themselves for male consumption in indistinguishable microskirts, prior to engaging in a form of group dancing that mimes sex, and effaces their individuality. (Boys wear regular and not particularly sexy clothing.)
  • Lots of bad things are and will remain legal: unkindness, emotional blackmail, selfishness. And though I think the culture of pornographic objectification does great damage to personal relations, I don’t think that legal bans are the answer.
  • In the history of philosophy this was well understood, and figures as diverse as [Jean-Jacques] Rousseau, [Johann Gottfried von] Herder, [Giuseppe] Mazzini, Auguste Comte, John Stuart Mill, and John Rawls had a lot to say about the issue. In Mill’s case, he set about solving the problem posed by the confluence of liberalism and emotion: how can a society that cultivates emotion to support its political principles also preserve enough space for dissent, critique, and experimentation? My own proposal in the forthcoming book follows the lead of Mill—and, in India, of Rabindranath Tagore—and tries to show how a public culture of emotions, supporting the stability of good political principles, can also be liberal and protective of dissent. Some of the historical figures I study in this regard are Franklin Delano Roosevelt, Martin Luther King, Jr., Gandhi, and Nehru.
  • the Palin reaction was a whole lot better than the standard reaction in Europe, which is that we should just ban things that we fear. It is really unbelievable, having just lectured on this topic here in Germany: my views, which are pretty mainstream in America, are found “extreme” and even “offensive” in Germany, and all sorts of quite refined people think that Islam poses a unique problem and that the law should be dragged in to protect the culture.
  • The problem with these Europeans is that they don’t want to ban platform shoes or spike heels either; they just want to ban practices of others which they have never tried to understand.
Javier E

Anger at being labeled racist is the new 'cultural anxiety' for Trump supporters - The ... - 0 views

  • as more Americans label the president a racist due to his worldview, the voters who continue to back him are becoming bolder in justifying their support, citing retaliation for being viewed as backing a racist.
  • as the president’s overall approval ratings remain relatively low, many of those who brought him to the dance appear to be dancing more closely than ever. And they are blaming their critics
  • After Rep. Joaquin Castro (D-Tex.) tweeted the names of maximum Trump donors in his district — which are all public record, by the way — accusing them of “fueling a campaign of hate that labels Hispanic immigrants as invaders,” the backlash from Trump-supporting Republicans was severe.
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  • According to the Republican National Committee chairwoman, their protests motivated donors. “Thanks to the unhinged mob on the left, President Trump raised $12M today, $2M more than originally expected,” she tweeted
  • Many Trump supporters express indignation at being labeled racist, but the worldview they admittedly embrace demonstrates a hostility to diversity.
  • more than 60 percent of Republicans said the shift of the United States to being a majority nonwhite country would be a mostly negative development.
  • Six in 10 Republicans also said that they felt like strangers in their own country, and nearly 6 in 10 white evangelical Protestants — one of the most pro-Trump demographic groups in the country — said immigrants are a threat to American society.
tongoscar

Why Shen Yun's Music Resonates With Our Souls - 0 views

  • Music has its beginning in sacred spaces. Whether in the East with the music of sages or in the West with our Gregorian chants, music has for centuries been used to convey a reverence for the heavens, express human emotion, and connect with the world around us.
  • With ancient China, the five tones of the pentatonic scale had direct relationships with the five elements in our physical world and the five major organs of our human bodies. Whether it be singing or playing tunes on a bamboo flute, music was meant to aid in the connection between heaven, earth, and humankind. 
  • While the task of combining two very different musical languages may be a Herculean one for arrangers, and playing the incredibly precise music a challenge for the musicians, the conductor, in a way, gets to reap the rewards with a powerful, versatile ensemble at her fingertips.
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  • Sometimes the story takes a turn and characters find themselves in a celestial palace, and the music has to be able to evoke a heavenly feeling, a sound so convincing you almost glimpse heaven. Sometimes the story calls for warriors on a battlefield, and the orchestra provides the strength and power and intensity of the battle. Sometimes the dance is an ethnic or folk dance, and the music takes on the sound of horses roaming the Mongolian grasslands, for example. 
  • “In ancient Chinese times, people also believed the ideas behind the music were more important than what’s on the surface … and that’s why I love Shen Yun music so much. It’s very inspiring and powerful—invigorating at the same time. It can be humorous, it can really cheer people up.”“It all ties into this mission to celebrate the best of humanity, both East and West, the values and the heroes from the past, or even today.”
Javier E

The "missing law" of nature was here all along | Salon.com - 0 views

  • recently published scientific article proposes a sweeping new law of nature, approaching the matter with dry, clinical efficiency that still reads like poetry.
  • “Evolving systems are asymmetrical with respect to time; they display temporal increases in diversity, distribution, and/or patterned behavior,” they continue, mounting their case from the shoulders of Charles Darwin, extending it toward all things living and not. 
  • To join the known physics laws of thermodynamics, electromagnetism and Newton’s laws of motion and gravity, the nine scientists and philosophers behind the paper propose their “law of increasing functional information.”
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  • In short, a complex and evolving system — whether that’s a flock of gold finches or a nebula or the English language — will produce ever more diverse and intricately detailed states and configurations of itself.
  • Some of these more diverse and intricate configurations, the scientists write, are shed and forgotten over time. The configurations that persist are ones that find some utility or novel function in a process akin to natural selection, but a selection process driven by the passing-on of information rather than just the sowing of biological genes
  • Have they finally glimpsed, I wonder, the connectedness and symbiotic co-evolution of their own scientific ideas with those of the world’s writers
  • Have they learned to describe in their own quantifying language that cradle from which both our disciplines have emerged and the firmament on which they both stand — the hearing and telling of stories in order to exist?
  • Have they quantified the quality of all existent matter, living and not: that all things inherit a story in data to tell, and that our stories are told by the very forms we take to tell them? 
  • “Is there a universal basis for selection? Is there a more quantitative formalism underlying this conjectured conceptual equivalence—a formalism rooted in the transfer of information?,” they ask of the world’s disparate phenomena. “The answer to both questions is yes.”
  • Yes. They’ve glimpsed it, whether they know it or not. Sing to me, O Muse, of functional information and its complex diversity.
  • The principle of complexity evolving at its own pace when left to its own devices, independent of time but certainly in a dance with it, is nothing new. Not in science, nor in its closest humanities kin, science and nature writing. Give things time and nourishing environs, protect them from your own intrusions and — living organisms or not — they will produce abundant enlacement of forms.
  • This is how poetry was born from the same larynxes and phalanges that tendered nuclear equations: We featherless bipeds gave language our time and delighted attendance until its forms were so multivariate that they overflowed with inevitable utility.
  • In her Pulitzer-winning “Pilgrim at Tinker Creek,” nature writer Annie Dillard explains plainly that evolution is the vehicle of such intricacy in the natural world, as much as it is in our own thoughts and actions. 
  • “The stability of simple forms is the sturdy base from which more complex, stable forms might arise, forming in turn more complex forms,” she explains, drawing on the undercap frills of mushrooms and filament-fine filtering tubes inside human kidneys to illustrate her point. 
  • “Utility to the creature is evolution’s only aesthetic consideration. Form follows function in the created world, so far as I know, and the creature that functions, however bizarre, survives to perpetuate its form,” writes Dillard.
  • “Of the multiplicity of forms, I know nothing. Except that, apparently, anything goes. This holds for forms of behavior as well as design — the mantis munching her mate, the frog wintering in mud.” 
  • She notes that, of all forms of life we’ve ever known to exist, only about 10% are still alive. What extravagant multiplicity. 
  • “Intricacy is that which is given from the beginning, the birthright, and in the intricacy is the hardiness of complexity that ensures against the failures of all life,” Dillard writes. “The wonder is — given the errant nature of freedom and the burgeoning texture of time — the wonder is that all the forms are not monsters, that there is beauty at all, grace gratuitous.”
  • “This paper, and the reason why I'm so proud of it, is because it really represents a connection between science and the philosophy of science that perhaps offers a new lens into why we see everything that we see in the universe,” lead scientist Michael Wong told Motherboard in a recent interview. 
  • Wong is an astrobiologist and planetary scientist at the Carnegie Institute for Science. In his team’s paper, that bridge toward scientific philosophy is not only preceded by a long history of literary creativity but directly theorizes about the creative act itself.  
  • “The creation of art and music may seem to have very little to do with the maintenance of society, but their origins may stem from the need to transmit information and create bonds among communities, and to this day, they enrich life in innumerable ways,” Wong’s team writes.  
  • “Perhaps, like eddies swirling off of a primary flow field, selection pressures for ancillary functions can become so distant from the core functions of their host systems that they can effectively be treated as independently evolving systems,” the authors add, pointing toward the elaborate mating dance culture observed in birds of paradise.
  • “Perhaps it will be humanity’s ability to learn, invent, and adopt new collective modes of being that will lead to its long-term persistence as a planetary phenomenon. In light of these considerations, we suspect that the general principles of selection and function discussed here may also apply to the evolution of symbolic and social systems.”
  • The Mekhilta teaches that all Ten Commandments were pronounced in a single utterance. Similarly, the Maharsha says the Torah’s 613 mitzvoth are only perceived as a plurality because we’re time-bound humans, even though they together form a singular truth which is indivisible from He who expressed it. 
  • Or, as the Mishna would have it, “the creations were all made in generic form, and they gradually expanded.” 
  • Like swirling eddies off of a primary flow field.
  • “O Lord, how manifold are thy works!,” cried out David in his psalm. “In wisdom hast thou made them all: the earth is full of thy riches. So is this great and wide sea, wherein are things creeping innumerable, both small and great beasts.” 
  • In all things, then — from poetic inventions, to rare biodiverse ecosystems, to the charted history of our interstellar equations — it is best if we conserve our world’s intellectual and physical diversity, for both the study and testimony of its immeasurable multiplicity.
  • Because, whether wittingly or not, science is singing the tune of the humanities. And whether expressed in algebraic logic or ancient Greek hymn, its chorus is the same throughout the universe: Be fruitful and multiply. 
  • Both intricate configurations of art and matter arise and fade according to their shared characteristic, long-known by students of the humanities: each have been graced with enough time to attend to the necessary affairs of their most enduring pleasures. 
Javier E

Wine-tasting: it's junk science | Life and style | The Observer - 0 views

  • google_ad_client = 'ca-guardian_js'; google_ad_channel = 'lifeandstyle'; google_max_num_ads = '3'; // Comments Click here to join the discussion. We can't load the discussion on guardian.co.uk because you don't have JavaScript enabled. if (!!window.postMessage) { jQuery.getScript('http://discussion.guardian.co.uk/embed.js') } else { jQuery('#d2-root').removeClass('hd').html( '' + 'Comments' + 'Click here to join the discussion.We can\'t load the ' + 'discussion on guardian.co.uk ' + 'because your web browser does not support all the features that we ' + 'need. If you cannot upgrade your browser to a newer version, you can ' + 'access the discussion ' + 'here.' ); } Wor
  • Hodgson approached the organisers of the California State Fair wine competition, the oldest contest of its kind in North America, and proposed an experiment for their annual June tasting sessions.Each panel of four judges would be presented with their usual "flight" of samples to sniff, sip and slurp. But some wines would be presented to the panel three times, poured from the same bottle each time. The results would be compiled and analysed to see whether wine testing really is scientific.
  • Results from the first four years of the experiment, published in the Journal of Wine Economics, showed a typical judge's scores varied by plus or minus four points over the three blind tastings. A wine deemed to be a good 90 would be rated as an acceptable 86 by the same judge minutes later and then an excellent 94.
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  • Hodgson's findings have stunned the wine industry. Over the years he has shown again and again that even trained, professional palates are terrible at judging wine."The results are disturbing," says Hodgson from the Fieldbrook Winery in Humboldt County, described by its owner as a rural paradise. "Only about 10% of judges are consistent and those judges who were consistent one year were ordinary the next year."Chance has a great deal to do with the awards that wines win."
  • French academic Frédéric Brochet tested the effect of labels in 2001. He presented the same Bordeaux superior wine to 57 volunteers a week apart and in two different bottles – one for a table wine, the other for a grand cru.The tasters were fooled.When tasting a supposedly superior wine, their language was more positive – describing it as complex, balanced, long and woody. When the same wine was presented as plonk, the critics were more likely to use negatives such as weak, light and flat.
  • In 2011 Professor Richard Wiseman, a psychologist (and former professional magician) at Hertfordshire University invited 578 people to comment on a range of red and white wines, varying from £3.49 for a claret to £30 for champagne, and tasted blind.People could tell the difference between wines under £5 and those above £10 only 53% of the time for whites and only 47% of the time for reds. Overall they would have been just as a successful flipping a coin to guess.
  • why are ordinary drinkers and the experts so poor at tasting blind? Part of the answer lies in the sheer complexity of wine.For a drink made by fermenting fruit juice, wine is a remarkably sophisticated chemical cocktail. Dr Bryce Rankine, an Australian wine scientist, identified 27 distinct organic acids in wine, 23 varieties of alcohol in addition to the common ethanol, more than 80 esters and aldehydes, 16 sugars, plus a long list of assorted vitamins and minerals that wouldn't look out of place on the ingredients list of a cereal pack. There are even harmless traces of lead and arsenic that come from the soil.
  • "People underestimate how clever the olfactory system is at detecting aromas and our brain is at interpreting them," says Hutchinson."The olfactory system has the complexity in terms of its protein receptors to detect all the different aromas, but the brain response isn't always up to it. But I'm a believer that everyone has the same equipment and it comes down to learning how to interpret it." Within eight tastings, most people can learn to detect and name a reasonable range of aromas in wine
  • People struggle with assessing wine because the brain's interpretation of aroma and bouquet is based on far more than the chemicals found in the drink. Temperature plays a big part. Volatiles in wine are more active when wine is warmer. Serve a New World chardonnay too cold and you'll only taste the overpowering oak. Serve a red too warm and the heady boozy qualities will be overpowering.
  • Colour affects our perceptions too. In 2001 Frédérick Brochet of the University of Bordeaux asked 54 wine experts to test two glasses of wine – one red, one white. Using the typical language of tasters, the panel described the red as "jammy' and commented on its crushed red fruit.The critics failed to spot that both wines were from the same bottle. The only difference was that one had been coloured red with a flavourless dye
  • Other environmental factors play a role. A judge's palate is affected by what she or he had earlier, the time of day, their tiredness, their health – even the weather.
  • Robert Hodgson is determined to improve the quality of judging. He has developed a test that will determine whether a judge's assessment of a blind-tasted glass in a medal competition is better than chance. The research will be presented at a conference in Cape Town this year. But the early findings are not promising."So far I've yet to find someone who passes," he says.
tornekm

How 'Everything' Became the Highest Form of Praise - The New York Times - 0 views

  • the profusion of “everything” spins the head. “This tiny pig dancing in the grass is everything.”
  • religiously and philosophically inclined take to Facebook and Tumblr to pronounce their dictums:
  • Everything” is a fudge, a word we apply to the unknowable.
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  • It is also, nearly always, an exaggeration.
  • The “everything” that holds sway online exaggerates the exaggeration, by eliminating any notion of uncertainty, any qualification.
  • The result is rhetorical gold — ideal, in any case, for social-­media banter, which places a premium on pithy hyperbole, on outsize statements delivered with minimal keystrokes.
  • “Everything” is a hawker’s cry, a hard sell. Which makes perfect sense. The Internet is the most dizzying marketplace in human history, a seething bazaar that barrages us relentlessly and from all angles.
proudsa

When Correctional Officers Carry Shotguns, The Result is Death And Mayhem - The Huffing... - 0 views

  • Guards inside prisons shouldn't have guns. That's pretty much an accepted fact. Except in Nevada—and the results are mayhem and death.
    • proudsa
       
      Graphic image disclaimer, but really important read
  • “Neither could affect an effective offensive,” McNeill recalled. “It was like some awkward and quirky dance, then 'BOOM.'”
  • the same tiny pellets that sport shooters use to blow apart clay pigeons and that hunters use to kill birds and rabbits.
    • proudsa
       
      treatment of inmates as animals
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  • Ramos fired a warning shot, but the prisoners kept scuffling. Then he fired three live rounds. When he stopped, the left side of Arevalo's body was loaded with shots. Perez lay motionless and bleeding on the floor, near a shower bag and a towel. He had at least 30 pellets in his face, 30 in his neck and as many as 200 in his chest and arms.
  • while he tried to reload his gun.
  • “extensive” shots to the “left face, left neck, left arm, left chest, left flank.”
  • lowest ratio of guards to prisoners of any correctional system in the country—only about one security staffer for every 12 inmates, according to the Association of State Correctional Administrators.
  • The state defines this method as a “non-deadly” use of force, but a shotgun loaded with pellets can easily draw blood from as far as 50 yards away.
Javier E

Our Ecological Boredom - NYTimes.com - 1 views

  • Live free or die: This is the maxim of our age. But the freedoms we celebrate are particular and limited. We fetishize the freedom of business from state control; the freedom not to pay taxes; the freedom to carry guns and speak our minds and worship whom we will. But despite, in some cases because of, this respect for particular freedoms, every day the scope of our lives appears to contract.
  • Half a century ago, we were promised that rising wealth would mean less work, longer vacations and more choice
  • our working hours rise in line with economic growth, and they are now governed by a corporate culture of snooping and quantification, of infantilizing dictats and impossible demands, all of which smothers autonomy and creativity. Technologies that promised to save time and free us from drudgery (such as email and smartphones) fill our heads with a clatter so persistent it stifles the ability to think.
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  • Young people, who have no place in this dead-eyed, sanitized landscape, scarcely venture from their bedrooms. Political freedom now means choosing between alternative versions of market fundamentalism.
  • Even the freedoms we do possess we tend not to exercise. We spend hours every day watching other people doing what we might otherwise be doing: dancing, singing, playing sports, even cooking. We venture outdoors to seek marginally different varieties of stuff we already possess
  • We entertain the illusion that we have chosen our lives. Why, if this is the case, do our apparent choices differ so little from those of other people? Why do we live and work and travel and eat and dress and entertain ourselves in almost identical fashion? It’s no wonder, when we possess and use it so little, that we make a fetish out of freedom.Continue reading the main story
  • our survival in the modern economy requires the use of few of the mental and physical capacities we possess. Sometimes it feels like a small and shuffling life. Our humdrum, humiliating lives leave us, I believe, ecologically bored.
  • Across many rich nations, especially the United States, global competition is causing the abandonment of farming on less fertile land. Rather than trying to tame and hold back the encroaching wilds, I believe we should help to accelerate the process of reclamation, removing redundant roads and fences, helping to re-establish missing species, such as wolves and cougars and bears, building bridges between recovering habitats to create continental-scale wildlife corridors, such as those promoted by the Rewilding Institute.
  • This rewilding of the land permits, if we choose, a partial rewilding of our own lives. It allows us to step into a world that is not controlled and regulated, to imagine ourselves back into the rawer life from which we came
Javier E

This is what it's like to grow up in the age of likes, lols and longing | The Washingto... - 1 views

  • She slides into the car, and even before she buckles her seat belt, her phone is alight in her hands. A 13-year-old girl after a day of eighth grade.
  • She doesn’t respond, her thumb on Instagram. A Barbara Walters meme is on the screen. She scrolls, and another meme appears. Then another meme, and she closes the app. She opens BuzzFeed. There’s a story about Florida Gov. Rick Scott, which she scrolls past to get to a story about Janet Jackson, then “28 Things You’ll Understand If You’re Both British and American.” She closes it. She opens Instagram. She opens the NBA app. She shuts the screen off. She turns it back on. She opens Spotify. Opens Fitbit. She has 7,427 steps. Opens Instagram again. Opens Snapchat. She watches a sparkly rainbow flow from her friend’s mouth. She watches a YouTube star make pouty faces at the camera. She watches a tutorial on nail art. She feels the bump of the driveway and looks up. They’re home. Twelve minutes have passed.
  • Katherine Pommerening’s iPhone is the place where all of her friends are always hanging out. So it’s the place where she is, too.
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  • “Over 100 likes is good, for me. And comments. You just comment to make a joke or tag someone.”
  • The best thing is the little notification box, which means someone liked, tagged or followed her on Instagram. She has 604 followers. There are only 25 photos on her page because she deletes most of what she posts. The ones that don’t get enough likes, don’t have good enough lighting or don’t show the coolest moments in her life must be deleted.
  • Sociologists, advertisers, stock market analysts – everyone wants to know what happens when the generation born glued to screens has to look up and interact with the world.
  • “It kind of, almost, promotes you as a good person. If someone says, ‘tbh you’re nice and pretty,’ that kind of, like, validates you in the comments. Then people can look at it and say ‘Oh, she’s nice and pretty.’ ”
  • School is where she thrives: She is beloved by her teachers, will soon star as young Simba in the eighth-grade performance of “The Lion King” musical, and gets straight A’s. Her school doesn’t offer a math course challenging enough for her, so she takes honors algebra online through Johns Hopkins University.
  • “Happy birthday posts are a pretty big deal,” she says. “It really shows who cares enough to put you on their page.”
  • He checks the phone bill to see who she’s called and how much she’s been texting, but she barely calls anyone and chats mostly through Snapchat, where her messages disappear.
  • Some of Katherine’s very best friends have never been to her house, or she to theirs. To Dave, it seems like they rarely hang out, but he knows that to her, it seems like they’re together all the time.
  • Dave Pommerening wants to figure out how to get her to use it less. One month, she ate up 18 gigabytes of data. Most large plans max out at 10. He intervened and capped her at four GB. “I don’t want to crimp it too much,” he says. “That’s something, from my perspective, I’m going to have to figure out, how to get my arms around that.”
  • Even if her dad tried snooping around her apps, the true dramas of teenage girl life are not written in the comments. Like how sometimes, Katherine’s friends will borrow her phone just to un-like all the Instagram photos of girls they don’t like. Katherine can’t go back to those girls’ pages and re-like the photos because that would be stalking, which is forbidden.
  • Or how last week, at the middle school dance, her friends got the phone numbers of 10 boys, but then they had to delete five of them because they were seventh-graders. And before she could add the boys on Snapchat, she realized she had to change her username because it was her childhood nickname and that was totally embarrassing.
  • Then, because she changed her username, her Snapchat score reverted to zero. The app awards about one point for every snap you send and receive. It’s also totally embarrassing and stressful to have a low Snapchat score. So in one day, she sent enough snaps to earn 1,000 points.
  • Snapchat is where flirting happens. She doesn’t know anyone who has sent a naked picture to a boy, but she knows it happens with older girls, who know they have met the right guy.
  • Nothing her dad could find on her phone shows that for as good as Katherine is at math, basketball and singing, she wants to get better at her phone. To be one of the girls who knows what to post, how to caption it, when to like, what to comment.
  • Katherine doesn’t need magazines or billboards to see computer-perfect women. They’re right on her phone, all the time, in between photos of her normal-looking friends. There’s Aisha, there’s Kendall Jenner’s butt. There’s Olivia, there’s YouTube star Jenna Marbles in lingerie.
  • The whole world is at her fingertips and has been for years. This, Katherine offers as a theory one day, is why she doesn’t feel like she’s 13 years old at all. She’s probably, like, 16.
  • “I don’t feel like a child anymore” she says. “I’m not doing anything childish. At the end of sixth grade” — when all her friends got phones and downloaded Snapchat, Instagram and Twitter — “I just stopped doing everything I normally did. Playing games at recess, playing with toys, all of it, done.”
  • Her scooter sat in the garage, covered in dust. Her stuffed animals were passed down to Lila. The wooden playground in the back yard stood empty. She kept her skateboard with neon yellow wheels, because riding it is still cool to her friends.
  • On the morning of her 14th birthday, Katherine wakes up to an alarm ringing on her phone. It’s 6:30 a.m. She rolls over and shuts it off in the dark. Her grandparents, here to celebrate the end of her first year of teenagehood, are sleeping in the guest room down the hall. She can hear the dogs shuffling across the hardwood downstairs, waiting to be fed. Propping herself up on her peace-sign-covered pillow, she opens Instagram. Later, Lila will give her a Starbucks gift card. Her dad will bring doughnuts to her class. Her grandparents will take her to the Melting Pot for dinner. But first, her friends will decide whether to post pictures of Katherine for her birthday. Whether they like her enough to put a picture of her on their page. Those pictures, if they come, will get likes and maybe tbhs. They should be posted in the morning, any minute now. She scrolls past a friend posing in a bikini on the beach. Then a picture posted by Kendall Jenner. A selfie with coffee. A basketball Vine. A selfie with a girl’s tongue out. She scrolls, she waits. For that little notification box to appear.
Javier E

Sexual Freelancing in the Gig Economy - The New York Times - 0 views

  • We constantly use economic metaphors to describe romantic and sexual relations. Few people today refer to women as “damaged goods” or wonder why a man would “buy the cow when he can get the milk for free,” but we have “friends with benefits” and “invest in relationships.” An ex may be “on” or “off the market.” Online dating makes “shopping around” explicit. Blog after blog strategizes about how to maximize your “return on investment” on OkCupid.
  • he ways that people date — who contacts whom, where they meet and what happens next — have always been tied to the economy. Dating applies the logic of capitalism to courtship. On the dating market, everyone competes for him or herself.
  • If you want to understand why “Netflix and chill” has replaced dinner and a movie, you need to look at how people work.
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  • Today, people are constantly told that we must be flexible and adaptable in order to succeed. Is it surprising that these values are reshaping how many of us approach sex and love?
  • part-timers, contractors and other contingent workers — who constitute some 40 percent of the American work force — are more inclined to text one another “u still up?” than to make plans in advance
  • Smartphones have altered expectations about when we are “on” and “off,” and working from home or from cafes has blurred the lines between labor and leisure.
  • The 2013 and 2014 Work and Education Poll conducted by Gallup found that the average full-time American worker reported working 47 hours per week. Moreover, 21 percent of the people surveyed reported working 50 to 59 hours per week; and another 18 percent said they worked 60 or more hours a week.
  • marriage rates have declined significantly since 1960. The median age of first marriage has risen to a record high: 27 for women and 29 for men.
  • “Knot Yet: The Benefits and Costs of Delayed Marriage in America” observed that young adults have gone from seeing marriage as a “cornerstone” of adult life to its “capstone,” something you enter only after you complete your education and attain professional stability
  • DATING itself is a recent invention. It developed when young people began moving to cities and women began working outside private homes. By 1900, 44 percent of single American women worked. Previously, courtship had taken place under adult supervision, in private places: a parlor, a factory dance or church social. But once women started going out and earning wages, they had more freedom over where and how they met prospective mates. Because men vastly out-earned women, they typically paid for entertainment.
  • In the 1920s and ‘30s, as more and more middle-class women started going to college, parents and faculty panicked over the “rating and dating” culture, which led kids to participate in “petting parties” and take “joy rides” with members of the opposite sex.
  • By the 1950s, a new kind of dating took over: “going steady.
  • by the post-war era of full employment, this form of courtship made perfect sense. The booming economy, which was targeting the newly flush “teen” demographic, dictated that in order for everyone to partake in new consumer pleasures — for everyone to go out for a burger and root beer float on the weekends — young people had to pair off
  • The generation of Americans that came of age around the time of the 2008 financial crisis has been told constantly that we must be “flexible” and “adaptable.” Is it so surprising that we have turned into sexual freelancers? Many of us treat relationships like unpaid internships: We cannot expect them to lead to anything long-term, so we use them to get experience. If we look sharp, we might get a free lunch.
  • this kind of dating isn’t any more transactional than it was back when suitors paid women family-supervised visits or parents sought out a yenta to introduce their children at a synagogue mixer.
  • Courtship has always been dictated by changes in the market. The good news is that dating is not the same thing as love. And as anyone who has ever been in love can attest, the laws of supply and demand do not control our feelings.
Javier E

How Did Consciousness Evolve? - The Atlantic - 0 views

  • Theories of consciousness come from religion, from philosophy, from cognitive science, but not so much from evolutionary biology. Maybe that’s why so few theories have been able to tackle basic questions such as: What is the adaptive value of consciousness? When did it evolve and what animals have it?
  • The Attention Schema Theory (AST), developed over the past five years, may be able to answer those questions.
  • The theory suggests that consciousness arises as a solution to one of the most fundamental problems facing any nervous system: Too much information constantly flows in to be fully processed. The brain evolved increasingly sophisticated mechanisms for deeply processing a few select signals at the expense of others, and in the AST, consciousness is the ultimate result of that evolutionary sequence
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  • Even before the evolution of a central brain, nervous systems took advantage of a simple computing trick: competition.
  • It coordinates something called overt attention – aiming the satellite dishes of the eyes, ears, and nose toward anything important.
  • Selective enhancement therefore probably evolved sometime between hydras and arthropods—between about 700 and 600 million years ago, close to the beginning of complex, multicellular life
  • The next evolutionary advance was a centralized controller for attention that could coordinate among all senses. In many animals, that central controller is a brain area called the tectum
  • At any moment only a few neurons win that intense competition, their signals rising up above the noise and impacting the animal’s behavior. This process is called selective signal enhancement, and without it, a nervous system can do almost nothing.
  • All vertebrates—fish, reptiles, birds, and mammals—have a tectum. Even lampreys have one, and they appeared so early in evolution that they don’t even have a lower jaw. But as far as anyone knows, the tectum is absent from all invertebrates
  • According to fossil and genetic evidence, vertebrates evolved around 520 million years ago. The tectum and the central control of attention probably evolved around then, during the so-called Cambrian Explosion when vertebrates were tiny wriggling creatures competing with a vast range of invertebrates in the sea.
  • The tectum is a beautiful piece of engineering. To control the head and the eyes efficiently, it constructs something called an internal model, a feature well known to engineers. An internal model is a simulation that keeps track of whatever is being controlled and allows for predictions and planning.
  • The tectum’s internal model is a set of information encoded in the complex pattern of activity of the neurons. That information simulates the current state of the eyes, head, and other major body parts, making predictions about how these body parts will move next and about the consequences of their movement
  • In fish and amphibians, the tectum is the pinnacle of sophistication and the largest part of the brain. A frog has a pretty good simulation of itself.
  • With the evolution of reptiles around 350 to 300 million years ago, a new brain structure began to emerge – the wulst. Birds inherited a wulst from their reptile ancestors. Mammals did too, but our version is usually called the cerebral cortex and has expanded enormously
  • The cortex also takes in sensory signals and coordinates movement, but it has a more flexible repertoire. Depending on context, you might look toward, look away, make a sound, do a dance, or simply store the sensory event in memory in case the information is useful for the future.
  • The most important difference between the cortex and the tectum may be the kind of attention they control. The tectum is the master of overt attention—pointing the sensory apparatus toward anything important. The cortex ups the ante with something called covert attention. You don’t need to look directly at something to covertly attend to it. Even if you’ve turned your back on an object, your cortex can still focus its processing resources on it
  • The cortex needs to control that virtual movement, and therefore like any efficient controller it needs an internal model. Unlike the tectum, which models concrete objects like the eyes and the head, the cortex must model something much more abstract. According to the AST, it does so by constructing an attention schema—a constantly updated set of information that describes what covert attention is doing moment-by-moment and what its consequences are
  • Covert attention isn’t intangible. It has a physical basis, but that physical basis lies in the microscopic details of neurons, synapses, and signals. The brain has no need to know those details. The attention schema is therefore strategically vague. It depicts covert attention in a physically incoherent way, as a non-physical essence
  • this, according to the theory, is the origin of consciousness. We say we have consciousness because deep in the brain, something quite primitive is computing that semi-magical self-description.
  • I’m reminded of Teddy Roosevelt’s famous quote, “Do what you can with what you have where you are.” Evolution is the master of that kind of opportunism. Fins become feet. Gill arches become jaws. And self-models become models of others. In the AST, the attention schema first evolved as a model of one’s own covert attention. But once the basic mechanism was in place, according to the theory, it was further adapted to model the attentional states of others, to allow for social prediction. Not only could the brain attribute consciousness to itself, it began to attribute consciousness to others.
  • In the AST’s evolutionary story, social cognition begins to ramp up shortly after the reptilian wulst evolved. Crocodiles may not be the most socially complex creatures on earth, but they live in large communities, care for their young, and can make loyal if somewhat dangerous pets.
  • If AST is correct, 300 million years of reptilian, avian, and mammalian evolution have allowed the self-model and the social model to evolve in tandem, each influencing the other. We understand other people by projecting ourselves onto them. But we also understand ourselves by considering the way other people might see us.
  • t the cortical networks in the human brain that allow us to attribute consciousness to others overlap extensively with the networks that construct our own sense of consciousness.
  • Language is perhaps the most recent big leap in the evolution of consciousness. Nobody knows when human language first evolved. Certainly we had it by 70 thousand years ago when people began to disperse around the world, since all dispersed groups have a sophisticated language. The relationship between language and consciousness is often debated, but we can be sure of at least this much: once we developed language, we could talk about consciousness and compare notes
  • Maybe partly because of language and culture, humans have a hair-trigger tendency to attribute consciousness to everything around us. We attribute consciousness to characters in a story, puppets and dolls, storms, rivers, empty spaces, ghosts and gods. Justin Barrett called it the Hyperactive Agency Detection Device, or HADD
  • the HADD goes way beyond detecting predators. It’s a consequence of our hyper-social nature. Evolution turned up the amplitude on our tendency to model others and now we’re supremely attuned to each other’s mind states. It gives us our adaptive edge. The inevitable side effect is the detection of false positives, or ghosts.
kushnerha

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

  • 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.
  • 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.”
  • 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.”
  • , 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
  • 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.
sissij

Trash dove: how a purple bird took over Facebook | Technology | The Guardian - 0 views

  • As noted by meme database Know Your Meme, Trash Dove exploded in popularity after it was featured alongside a dancing cat on a Thai Facebook page with millions of followers
  • Pigeons are such strange birds, they have very beautiful mottled, shimmery feathers, but they waddle around and bob their heads and beg for crumbs. They’re like beautiful doves, except they eat trash.
  • The fan art and nice comments have been the highlight for me, but I’m amazed at how mean people can be to someone they’ve never met, because of something silly online.
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  • It’s better to spend time building a dedicated viewer base that will support you for you.
  •  
    The popularity of a meme can sometimes reflect on the culture online and how people feel about the current events. I think the popularity of the Trash Dove might be suggesting that people feel negative about this world because the meaning behind the Trash Dove is that "They're like beautiful doves, except they eat trash". I feel like this meaning is ironic. Internet is such transparent space that every big hit somehow reflect people's value and opinion. --Sissi (2/16/2017)
Javier E

Eric Kandel's Visions - The Chronicle Review - The Chronicle of Higher Education - 0 views

  • Judith, "barely clothed and fresh from the seduction and slaying of Holofernes, glows in her voluptuousness. Her hair is a dark sky between the golden branches of Assyrian trees, fertility symbols that represent her eroticism. This young, ecstatic, extravagantly made-up woman confronts the viewer through half-closed eyes in what appears to be a reverie of orgasmic rapture," writes Eric Kandel in his new book, The Age of Insight. Wait a minute. Writes who? Eric Kandel, the Nobel-winning neuroscientist who's spent most of his career fixated on the generously sized neurons of sea snails
  • Kandel goes on to speculate, in a bravura paragraph a few hundred pages later, on the exact neurochemical cognitive circuitry of the painting's viewer:
  • "At a base level, the aesthetics of the image's luminous gold surface, the soft rendering of the body, and the overall harmonious combination of colors could activate the pleasure circuits, triggering the release of dopamine. If Judith's smooth skin and exposed breast trigger the release of endorphins, oxytocin, and vasopressin, one might feel sexual excitement. The latent violence of Holofernes's decapitated head, as well as Judith's own sadistic gaze and upturned lip, could cause the release of norepinephrine, resulting in increased heart rate and blood pressure and triggering the fight-or-flight response. In contrast, the soft brushwork and repetitive, almost meditative, patterning may stimulate the release of serotonin. As the beholder takes in the image and its multifaceted emotional content, the release of acetylcholine to the hippocampus contributes to the storing of the image in the viewer's memory. What ultimately makes an image like Klimt's 'Judith' so irresistible and dynamic is its complexity, the way it activates a number of distinct and often conflicting emotional signals in the brain and combines them to produce a staggeringly complex and fascinating swirl of emotions."
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  • His key findings on the snail, for which he shared the 2000 Nobel Prize in Physiology or Medicine, showed that learning and memory change not the neuron's basic structure but rather the nature, strength, and number of its synaptic connections. Further, through focus on the molecular biology involved in a learned reflex like Aplysia's gill retraction, Kandel demonstrated that experience alters nerve cells' synapses by changing their pattern of gene expression. In other words, learning doesn't change what neurons are, but rather what they do.
  • In Search of Memory (Norton), Kandel offered what sounded at the time like a vague research agenda for future generations in the budding field of neuroaesthetics, saying that the science of memory storage lay "at the foothills of a great mountain range." Experts grasp the "cellular and molecular mechanisms," he wrote, but need to move to the level of neural circuits to answer the question, "How are internal representations of a face, a scene, a melody, or an experience encoded in the brain?
  • Since giving a talk on the matter in 2001, he has been piecing together his own thoughts in relation to his favorite European artists
  • The field of neuroaesthetics, says one of its founders, Semir Zeki, of University College London, is just 10 to 15 years old. Through brain imaging and other studies, scholars like Zeki have explored the cognitive responses to, say, color contrasts or ambiguities of line or perspective in works by Titian, Michelangelo, Cubists, and Abstract Expressionists. Researchers have also examined the brain's pleasure centers in response to appealing landscapes.
  • it is fundamental to an understanding of human cognition and motivation. Art isn't, as Kandel paraphrases a concept from the late philosopher of art Denis Dutton, "a byproduct of evolution, but rather an evolutionary adaptation—an instinctual trait—that helps us survive because it is crucial to our well-being." The arts encode information, stories, and perspectives that allow us to appraise courses of action and the feelings and motives of others in a palatable, low-risk way.
  • "as far as activity in the brain is concerned, there is a faculty of beauty that is not dependent on the modality through which it is conveyed but which can be activated by at least two sources—musical and visual—and probably by other sources as well." Specifically, in this "brain-based theory of beauty," the paper says, that faculty is associated with activity in the medial orbitofrontal cortex.
  • It also enables Kandel—building on the work of Gombrich and the psychoanalyst and art historian Ernst Kris, among others—to compare the painters' rendering of emotion, the unconscious, and the libido with contemporaneous psychological insights from Freud about latent aggression, pleasure and death instincts, and other primal drives.
  • Kandel views the Expressionists' art through the powerful multiple lenses of turn-of-the-century Vienna's cultural mores and psychological insights. But then he refracts them further, through later discoveries in cognitive science. He seeks to reassure those who fear that the empirical and chemical will diminish the paintings' poetic power. "In art, as in science," he writes, "reductionism does not trivialize our perception—of color, light, and perspective—but allows us to see each of these components in a new way. Indeed, artists, particularly modern artists, have intentionally limited the scope and vocabulary of their expression to convey, as Mark Rothko and Ad Reinhardt do, the most essential, even spiritual ideas of their art."
  • The author of a classic textbook on neuroscience, he seems here to have written a layman's cognition textbook wrapped within a work of art history.
  • "our initial response to the most salient features of the paintings of the Austrian Modernists, like our response to a dangerous animal, is automatic. ... The answer to James's question of how an object simply perceived turns into an object emotionally felt, then, is that the portraits are never objects simply perceived. They are more like the dangerous animal at a distance—both perceived and felt."
  • If imaging is key to gauging therapeutic practices, it will be key to neuroaesthetics as well, Kandel predicts—a broad, intense array of "imaging experiments to see what happens with exaggeration, distorted faces, in the human brain and the monkey brain," viewers' responses to "mixed eroticism and aggression," and the like.
  • while the visual-perception literature might be richer at the moment, there's no reason that neuroaesthetics should restrict its emphasis to the purely visual arts at the expense of music, dance, film, and theater.
  • although Kandel considers The Age of Insight to be more a work of intellectual history than of science, the book summarizes centuries of research on perception. And so you'll find, in those hundreds of pages between Kandel's introduction to Klimt's "Judith" and the neurochemical cadenza about the viewer's response to it, dossiers on vision as information processing; the brain's three-dimensional-space mapping and its interpretations of two-dimensional renderings; face recognition; the mirror neurons that enable us to empathize and physically reflect the affect and intentions we see in others; and many related topics. Kandel elsewhere describes the scientific evidence that creativity is nurtured by spells of relaxation, which foster a connection between conscious and unconscious cognition.
  • Zeki's message to art historians, aesthetic philosophers, and others who chafe at that idea is twofold. The more diplomatic pitch is that neuroaesthetics is different, complementary, and not oppositional to other forms of arts scholarship. But "the stick," as he puts it, is that if arts scholars "want to be taken seriously" by neurobiologists, they need to take advantage of the discoveries of the past half-century. If they don't, he says, "it's a bit like the guys who said to Galileo that we'd rather not look through your telescope."
  • Matthews, a co-author of The Bard on the Brain: Understanding the Mind Through the Art of Shakespeare and the Science of Brain Imaging (Dana Press, 2003), seems open to the elucidations that science and the humanities can cast on each other. The neural pathways of our aesthetic responses are "good explanations," he says. But "does one [type of] explanation supersede all the others? I would argue that they don't, because there's a fundamental disconnection still between ... explanations of neural correlates of conscious experience and conscious experience" itself.
  • There are, Matthews says, "certain kinds of problems that are fundamentally interesting to us as a species: What is love? What motivates us to anger?" Writers put their observations on such matters into idiosyncratic stories, psychologists conceive their observations in a more formalized framework, and neuroscientists like Zeki monitor them at the level of functional changes in the brain. All of those approaches to human experience "intersect," Matthews says, "but no one of them is the explanation."
  • "Conscious experience," he says, "is something we cannot even interrogate in ourselves adequately. What we're always trying to do in effect is capture the conscious experience of the last moment. ... As we think about it, we have no way of capturing more than one part of it."
  • Kandel sees art and art history as "parent disciplines" and psychology and brain science as "antidisciplines," to be drawn together in an E.O. Wilson-like synthesis toward "consilience as an attempt to open a discussion between restricted areas of knowledge." Kandel approvingly cites Stephen Jay Gould's wish for "the sciences and humanities to become the greatest of pals ... but to keep their ineluctably different aims and logics separate as they ply their joint projects and learn from each other."
Duncan H

Egypt's Step Backward - NYTimes.com - 0 views

  • On Sunday, it will put on trial 43 people, including at least 16 U.S. citizens, for allegedly bringing unregistered funds into Egypt to promote democracy without a license. Egypt has every right to control international organizations operating within its borders. But the truth is that when these democracy groups filed their registration papers years ago under the autocracy of Hosni Mubarak, they were informed that the papers were in order and that approval was pending. The fact that now — after Mubarak has been deposed by a revolution — these groups are being threatened with jail terms for promoting democracy without a license is a very disturbing sign. It tells you how incomplete the “revolution” in Egypt has been and how vigorously the counter-revolutionary forces are fighting back.
  • Egypt is running out of foreign reserves, its currency is falling, inflation is rising and unemployment is rampant. Yet the priority of a few retrograde Mubarak holdovers is to put on trial staffers from the National Democratic Institute and the International Republican Institute, which are allied with the two main U.S. political parties, as well as from Freedom House and some European groups. Their crime was trying to teach Egypt’s young democrats how to monitor elections and start parties to engage in the very democratic processes that the Egyptian Army set up after Mubarak’s fall. Thousands of Egyptians had participated in their seminars in recent years.
  • It is the tendency to look for dignity in all the wrong places — to look for dignity not by building up the capacity of Egypt’s talented young people so they can thrive in the 21st century — with better schools, better institutions, export industries and more accountable government. No, it is the tendency to go for dignity on the cheap “by standing up to the foreigners.”
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  • After 30 years of Mubarak rule and some $50 billion in U.S. aid, 33 percent of men and 56 percent of women in Egypt still can’t read or write.
  • What is her priority? Is it to end illiteracy? Is it to articulate a new vision about how Egypt can engage with the world and thrive in the 21st century? Is it to create a positive climate for foreign investors to create jobs desperately needed by young Egyptians? No, it’s to fall back on that golden oldie — that all of Egypt’s problems are the fault of outsiders who want to destabilize Egypt. So let’s jail some Western democracy consultants. That will restore Egypt’s dignity.
  • Not surprisingly, some members of the U.S. Congress are talking about cutting off the $1.3 billion in aid the U.S. gives Egypt’s army if these Americans are actually thrown in prison.
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    Cutting off aid would seem to make an already unstable situation more dangerous.
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