https://www.ssrn.com/link/Social-Neuroscience.html
En su historia de la complejidad, de la humanidad y de la humanización (El lugar del hombre en el cosmos), Fred Spier se adhiere a una interesante teoría que podría explicar en parte la evolución del cerebro humano y algunas de sus peculiaridades cognitivas. A saber, la teoría de la encefalización por neotenia, o humanización altricial.
Texto completo:
También aquí:
_____. "Forever Young: Venimos poco hechos." In García Landa, Vanity Fea 24 Sept. 2011.* (Neoteny, human origins).
http://vanityfea.blogspot.com/2011/09/forever-young.html
2011
_____. "Forever Young: Venimos poco hechos." Ibercampus (Vanity Fea) 10 Oct. 2011.*
http://www.ibercampus.info/articulo.asp?idarticulo=14545
2013 DISCONTINUED 2021
https://www.ibercampus.es/forever-young-14545.htm
2021
_____. "Forever Young: Venimos poco hechos." SSRN 19 Jan. 2022.*
http://ssrn.com/abstract=3952116
2021
_____. "Forever Young: Venimos poco hechos." Academia 9 Jan. 2022.*
https://www.academia.edu/67674836/
2021
_____. "Forever Young: Venimos poco hechos." ResearchGate
29 Jan. 2022.
https://www.researchgate.net/publication/358213845
2022
_____. "Forever Young: Venimos poco hechos." Humanities Commons 7 March 2022.*
https://doi.org/10.17613/8w56-6b77
https://hcommons.org/deposits/item/hc:44861/
2022
_____. "Forever Young: Venimos poco hechos." In García Landa, Vanity Fea 8 March 2022.*
https://vanityfea.blogspot.com/2022/03/forever-young-venimos-poco-hechos.html
2022
—oOo—
The brain's fusiform face area responds preferentially to faces even in people blind from birth. When congenitally blind people touch a face, it produces a similar pattern of activation in the FFA to that produced in sighted people when they look at one. https://t.co/i0T98Qqnoe pic.twitter.com/HWikTapRUE
— Steve Stewart-Williams (@SteveStuWill) September 1, 2020
"Mientras que la macroestructura del cerebro es determinada principalmente por los genes, experiencias específicas del individuo, no relacionadas con la crianza familiar, juegan el papel más importante en la formación de la microestructura. https://t.co/3IPaJ5hiUH— Pablo Malo (@pitiklinov) July 18, 2020
WTAF: If you think "brainstorm," that's what you'll hear; if you think "green needle," you'll hear that instead. 😮😮😮 https://t.co/hHL6semJl3 pic.twitter.com/b28pRvPqYl— Steve Stewart-Williams (@SteveStuWill) April 16, 2020
Los mecanismos de exaptación, coevolución y emergencia cognitiva son los que más van a caracterizar al género Homo dentro de su nicho cognitivo-culturalhttps://t.co/47ROlQmTVs pic.twitter.com/qlq57xMma4— Angel Rivera (@arqueocognitiva) April 16, 2020
You and I, we humans, we mammals, we animals, inhabit a virtual world, constructed from elements that are, at successively higher levels, useful for representing the real world. Of course, we feel as if we are firmly placed in the real world—which is exactly as it should be if our constrained virtual reality software is any good. It is very good, and the only time we notice it at all is on the rare occasions when it gets something wrong. When this happens we experience an illusion or a hallucination, like the hollow mask illusion we talked about earlier.One might compare the brain to a Popperian scientist, projecting hypotheses onto the world, as a working model of the same, and correcting those hypotheses only when reality fails to replicate the experiment. If the perceptual/conceptual model is thus falsified, a new perceptual pattern or "hypothesis" is generated to see if it delivers in terms of workable action.
The British psychologist Richard Gregory has paid special attention to visual illusions as a means of studying how the brain works. In his book Eye and Brain (fifth edition 1998), he regards seeing as an active process in which the brain sets up hypotheses about what is going on out there, then tests those hypotheses about what is going on out there, then tests those hypotheses against the data coming in from the sense organs. One of the most familiar of all visual illusions is the Necker cube. This is a simple line drawing of a hollow cube, like a cube made of steel rods.
The drawing is a two-dimensional pattern of ink on paper. Yet a normal human sees it as a cube. The brain has made a three-dimensional model based upon the two-dimensional pattern of ink on paper. yet a normal human sees it as a cube. The brain has made a three-dimensional model based upon the two-dimensional pattern on the paper. This is, indeed, the kind of thing the brain does almost every time you look at a picture. The flat pattern of ink on paper is equally compatible with two alternative three-dimensional brain models. Stare at the drawing for some seconds and you will see it flip. The facet that had previously seemed nearest to you will now appear farthest. Carry on looking, and it will flip back to the original cube. The brian could have been designed to stick, arbitrarily, to one of the two cube models, say the first of the two that it hit upon, even though the other model would have been equally compatible with the information from the retinas. But in fact the brain takes the other option of running each model, or hypothesis, alternately for a few seconds at a time. Hence the apparent cube alternates, which gives the game away. Our brain constructs a three-dimensional model. It is virtual reality in the head. (...) The model in the brain (...) is constructed. But (...) it is, like the surgeon's computer model of the inside of her patient, not entirely invented: it is constrained by information fed in from the outside world. (275-77)
CHAPTER I. OF SENSE
Concerning the Thoughts of man, I will consider them first Singly, and afterwards in Trayne, or dependance upon one another. Singly, they are every one a Representation or Apparence, of some quality, or other Accident of a body without us; which is commonly called an Object. Which Object worketh on the Eyes, Eares, and other parts of mans body; and by diversity of working, produceth diversity of Apparences.
The Originall of them all, is that which we call Sense; (For there is no conception in a mans mind, which hath not at first, totally, or by parts, been begotten upon the organs of Sense.) The rest are derived from that originall.
To know the naturall cause of Sense, is not very necessary to the business now in hand; and I have els-where written of the same at large. Nevertheless, to fill each part of my present method, I will briefly deliver the same in this place.
The cause of Sense, is the Externall Body, or Object, which presseth the organ proper to each Sense, either immediatly, as in the Tast and Touch; or mediately, as in Seeing, Hearing, and Smelling: which pressure, by the mediation of Nerves, and other strings, and membranes of the body, continued inwards to the Brain, and Heart, causeth there a resistance, or counter-pressure, or endeavour of the heart, to deliver it self: which endeavour because Outward, seemeth to be some matter without. And this Seeming, or Fancy, is that which men call sense; and consisteth, as to the Eye, in a Light, or Colour Figured; To the Eare, in a Sound; To the Nostrill, in an Odour; To the Tongue and Palat, in a Savour; and to the rest of the body, in Heat, Cold, Hardnesse, Softnesse, and such other qualities, as we discern by Feeling. All which qualities called Sensible, are in the object that causeth them, but so many several motions of the matter, by which it presseth our organs diversly. Neither in us that are pressed, are they anything els, but divers motions; (for motion, produceth nothing but motion.) But their apparence to us is Fancy, the same waking, that dreaming. And as pressing, rubbing, or striking the Eye, makes us fancy a light; and pressing the Eare, produceth a dinne; so do the bodies also we see, or hear, produce the same by their strong, though unobserved action, For if those Colours, and Sounds, were in the Bodies, or Objects that cause them, they could not bee severed from them, as by glasses, and in Ecchoes by reflection, wee see they are; where we know the thing we see, is in one place; the apparence, in another. And though at some certain distance, the reall, and very object seem invested with the fancy it begets in us; Yet still the object is one thing, the image or fancy is another. So that Sense in all cases, is nothing els but originall fancy, caused (as I have said) by the pressure, that is, by the motion, of externall things upon our Eyes, Eares, and other organs thereunto ordained.
—This is my opening discussion in the Narrative Theory and Narratology group forum.
We are all stories in the end. —Are we ongoing stories as well?
I’d like to open up the discussion with this question which alludes to the background image for the group (a rare narratological meme). ‘We’re all stories in the end’ reminds me of the ending of Oedipus Rex—’count no man happy until the days of his life are over’, for it is then and only then you can shape his life as a complete narrative. As to our being ongoing narratives, I was thinking of current neuropsychological approaches (see e.g. today’s video on the blog) which show that the brain has an ‘interpreter’ function which creates and sustains the coherence of our world and our self as a kind of ongoing movie, made out of a feedback of attention, expectations and perception. The world is not nearly as narrative without as as it turns out to be as we pass through it and shape it into our stories.