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The Surface of Light (Lion King Parody)




From Tim Blais, the young physicist who brought us the hilariously informative Bohemian Gravity based on Queen's Bohemian Rhapsody, comes this little nugget of wisdom that parodies the theme song to Disney's The Lion King.

Whereas Bohemian Gravity explores the specifics of Quantum Physics and String Theory, the video below delves into current projects to understand how light really behaves, an important topic because the prior supposition that the speed of light is a constant has been recently put into doubt, shaking up our current understanding of the universe. 

Instead of Timon and Pumba, this video showcases BICEP2and Planck, two of the bigger current projects that are looking into the history of the universe.



Without further ado, here is A Capella Science's The Surface of Light:



For Mobile Users who cannot see the embedded video above, please click --> The Surface of Light


love is more thicker than forget



by E. E. Cummings



Edward Estlin Cummings smokes a cigarette with the characteristic gaze of someone who loves living.
e.e. cummings enjoys a cigarette
with the characteristic stare of someone
who loves life and, therefore, living.
Hades will have a hard time ever
finding this man, :)





love is more thicker than forget
more thinner than recall
more seldom than a wave is wet
more frequent than to fail

it is most mad and moonly
and less it shall unbe
than all the sea which only
is deeper than the sea

love is less always than to win
less never than alive
less bigger than the least begin
less littler than forgive

it is most sane and sunly
and more it cannot die
than all the sky which only
is higher than the sky





--------

For a review of the background to the life, poetic style, and historical context that shaped E. E. Cummings' exceptional body of work, please read the brief essay immediately after the following poem—



----------

You may also enjoy these other poems by Edward Estlin Cummings:





Ever wonder what Hotel California means?




The writers of this song explained that they were trying to describe the Soul of a typical California, that is, a slave under the spell of the American Dream, striving to live (or actually living) the high life in the background of the 1970s.  It is, in essence, a song about life and death, which is why Hotel California is consistently ranked among the Top 50 songs of all time if not among the Top 10

The reason that it ranks so high is because it is one of the better approaches to the theme of the living and the dead (also known as the awake and the asleep).  That dichotomy is also the most prevalent theme among the greater works of poetry of all time.

There are many interpretations of the meaning of this song online, but they are largely biased because of religious viewpoints.  In fact, many interpretations rely on the dubious presupposition that the members of The Eagles were devil worshipers.  There is no grounds to this claim.  Sadly, I haven't found a single interpretation out there that analyzes the flurry of metaphors that the song contains in detail and in sequence.  Being that the case, I am providing such an analysis below.




For Mobile users who cannot see the video above, here is Hotel California with lyrics.


"Hotel California"

On a dark desert highway, cool wind in my hair
Warm smell of colitas, rising up through the air
Up ahead in the distance, I saw a shimmering light
My head grew heavy and my sight grew dim
I had to stop for the night
There she stood in the doorway;
I heard the mission bell
And I was thinking to myself,
"This could be Heaven or this could be Hell"
Then she lit up a candle and she showed me the way
There were voices down the corridor,
I thought I heard them say...



Term Meaning: Colitas = Little tails, or what is left over from a marihuana joint.

Interpretation of stanza


The first verse represents life's journey, specifically in the Southern California backdrop.  In our natural state, we are fully alive and in touch with nature.  The second verse represents temptation to dissociate, in this case embodied by the use of drugs.  The third and fourth verse depict the disconnection to nature.  The fourth and fifth verse provide the added meaning that, by adapting to society, we lose our natural state and begin the journey into dying in life or being among the living dead.  This meaning is further entrenched by what follows in the stanza, especially "This could be Heaven or this could be Hell".  The impact of religion and spirituality on the process of dying or disconnecting from nature is highlighted by the expressions "I heard the mission bell" and "she lit up a candle", both of which have a connection to the practice of Christianity.

-----

Welcome to the Hotel California
Such a lovely place (Such a lovely place)
Such a lovely face
Plenty of room at the Hotel California
Any time of year (Any time of year)
You can find it here


Interpretation of stanza


The chorus changes both times it appears in the song.  In both occasions, it highlights the attraction to beauty.  In this case, however, it also emphasizes that anyone and everyone can live at the Hotel California.  The final two verses represent the possibility of living the high life.

In common dream interpretations, a house represents oneself, such that dreaming of things happening in a house is the same as dreaming of things one is struggling with in one's self.  In sharp contrast, a hotel implies an impermanent abode, a transitional place that is not your own and does not represent you.  However, as will be seen in the end of the song, this is a hotel from which you can never escape.  The message implied is that those souls living in that hotel will never be alive (or in contact with their nature) again.

----

Her mind is Tiffany-twisted, she got the Mercedes bends
She got a lot of pretty, pretty boys she calls friends
How they dance in the courtyard, sweet summer sweat.
Some dance to remember, some dance to forget.
So I called up the Captain,
"Please bring me my wine"
He said, "We haven't had that spirit here since nineteen sixty nine"
And still those voices are calling from far away,
Wake you up in the middle of the night
Just to hear them say...


Term meaning:  Tiffany-twisted = Tiffany's is a luxury store.  The term implies that her mind has been warped by the pursuit of luxury.

Interpretation of stanza 


The first verse implies the warping of the mind by the pursuit of luxury.  The second verse points to the dissolution of the relation of friendship, friendship being replaced by proximity because of sexual attraction.  The third and fourth verses point out the psychological state of the people living at the Hotel California. "Some dance to remember, some dance to forget" but none dance to dance or to live; they are all living in the past in their minds, when they were closer to their natural state.

The next three verses have perplexed most people since the song came out.  The main male character asks for wine but the Captain, the person in charge, replies that they don't have that "spirit".  Anyone that knows their alcohol knows that wine is not in the spirit class of alcoholic beverages.  So what is this referring to?  The answer is that it refers to Dionysus, the god of wine, who is also, by the way, the god of living in and getting drunk off of nature (he is, thus, also the god of epiphany).  Dionysus plays a large role in Friedrich Nietzsche's vitalist philosophy and in his concept of the superman.  In the vitalist Nietzschean philosophy, the values of Dionysus have been in a constant metaphoric struggle with those of Apollo, the god of the sun, who also represents appearances or what you can see.

What about the voices at the end of the stanza?  They are the ghosts, the living dead, currently residing at the Hotel California.

----

Welcome to the Hotel California
Such a lovely place (Such a lovely place)
Such a lovely face
They livin' it up at the Hotel California
What a nice surprise (what a nice surprise)
Bring your alibis

Interpretation of stanza


This version of the chorus starts off the same as the last one, by emphasizing the attraction to beauty and beautiful things.  The fourth verse once again poses the idea that they are living the high life.  However, the last two verses add a different meaning altogether, brought home by the final verse "Bring your alibis".  What are alibis?  They are excuses or defenses.  Why is such a word placed in this context?  The answer lies mostly in the next two stanzas.  The occupants of the Hotel California must bring their excuses and psychological defenses so as to not return to a state of being alive, of being in touch with their own nature.

----

Mirrors on the ceiling,
The pink champagne on ice
And she said "We are all just prisoners here, of our own device"
And in the master's chambers,
They gathered for the feast
They stab it with their steely knives,
But they just can't kill the beast.

Interpretation of stanza


This is the stanza that has provided fodder for Christians to paint The Eagles as a bunch of devil worshipers.  It is also the best and strongest stanza in the entire song.  It is divided into two scenes, the first described in the first 3 verses and the second described in the final 4.

The first scene describes the likes of a motel room ready for sex to happen in it.  The woman tells him the truth of the situation they are in, that they are just prisoners there because of the way they've lived their lives.  They have detached themselves from nature, out of their own doing based on the life decisions they have made and the values that have guided their actions.

The second scene returns to the Nietzschean themes that permeate this song and indeed make it one of the great ones.  The reference to a "master" is a reference to the distinction between Master Morality and Slave Morality, best explained in Nietzsche's The Genealogy of Morals (see, in particular, Part 2).  The masters, in this case, are ready to feast by bringing down the Slave mindset; however, no matter how much they attack that beast, they fail to kill it, and so the Hotel and its prisoners keep going on with their shiny but ultimately vacuous lives.  This meaning is further emphasized in the last stanza.

----

Last thing I remember, I was
Running for the door
I had to find the passage back
To the place I was before
"Relax, " said the night man,
"We are programmed to receive.
You can check-out any time you like,
But you can never leave! "

Interpretation of stanza


The main character becomes frightened realizing that he has made erroneous life choices that now appear to have him trapped.  "I had to find the passage back to the place I was before" is a reference to childhood, when he was more in touch with nature, before being conditioned to like and follow the things that ultimately led him to be among the sleeping in life or the living dead.  The night man catches him and tells him to relax.  Who is the night man?  He is death itself, a figure not unlike Hades, the god of the underworld.  The night man goes ahead and explains why they are all stuck there: "We are programmed to receive".  That's how the brain works!  And what have these people filled it with?  Glitter... yet all that glitters is not gold.  Now our main character is stuck in a situation in which he can check out from the Hotel California all he wants, but he is simply bound to repeat the same psychosocial pattern he has been repeating.  It is too late to awake and become alive.  The voices will continue to lure him from far away. 

Welcome to the Hotel California!


The transmutation of the human spirit, by Friedrich Nietzsche



From Thus Spake Zarathustra, "The Three Metamorphoses"




Three metamorphoses of the spirit do I designate to you: how the spirit
becometh a camel, the camel a lion, and the lion at last a child.

Many heavy things are there for the spirit, the strong load-bearing
spirit in which reverence dwelleth: for the heavy and the heaviest
longeth its strength.

What is heavy? so asketh the load-bearing spirit; then kneeleth it down
like the camel, and wanteth to be well laden.

What is the heaviest thing, ye heroes? asketh the load-bearing spirit,
that I may take it upon me and rejoice in my strength.

Is it not this: To humiliate oneself in order to mortify one's pride? To
exhibit one's folly in order to mock at one's wisdom?

Or is it this: To desert our cause when it celebrateth its triumph? To
ascend high mountains to tempt the tempter?

Or is it this: To feed on the acorns and grass of knowledge, and for the
sake of truth to suffer hunger of soul?

Or is it this: To be sick and dismiss comforters, and make friends of
the deaf, who never hear thy requests?

Or is it this: To go into foul water when it is the water of truth, and
not disclaim cold frogs and hot toads?

Or is it this: To love those who despise us, and give one's hand to the
phantom when it is going to frighten us?

All these heaviest things the load-bearing spirit taketh upon itself:
and like the camel, which, when laden, hasteneth into the wilderness, so
hasteneth the spirit into its wilderness.

But in the loneliest wilderness happeneth the second metamorphosis: here
the spirit becometh a lion; freedom will it capture, and lordship in its
own wilderness.

Its last Lord it here seeketh: hostile will it be to him, and to its
last God; for victory will it struggle with the great dragon.

What is the great dragon which the spirit is no longer inclined to call
Lord and God? "Thou-shalt," is the great dragon called. But the spirit
of the lion saith, "I will."

"Thou-shalt," lieth in its path, sparkling with gold--a scale-covered
beast; and on every scale glittereth golden, "Thou shalt!"

The values of a thousand years glitter on those scales, and
thus speaketh the mightiest of all dragons: "All the values of
things--glitter on me.

All values have already been created, and all created values--do I
represent. Verily, there shall be no 'I will' any more. Thus speaketh
the dragon.

My brethren, wherefore is there need of the lion in the spirit? Why
sufficeth not the beast of burden, which renounceth and is reverent?

To create new values--that, even the lion cannot yet accomplish: but to
create itself freedom for new creating--that can the might of the lion
do.

To create itself freedom, and give a holy Nay even unto duty: for that,
my brethren, there is need of the lion.

To assume the right to new values--that is the most formidable
assumption for a load-bearing and reverent spirit. Verily, unto such a
spirit it is preying, and the work of a beast of prey.

As its holiest, it once loved "Thou-shalt": now is it forced to find
illusion and arbitrariness even in the holiest things, that it may
capture freedom from its love: the lion is needed for this capture.

But tell me, my brethren, what the child can do, which even the lion
could not do? Why hath the preying lion still to become a child?

Innocence is the child, and forgetfulness, a new beginning, a game, a
self-rolling wheel, a first movement, a holy Yea.

Aye, for the game of creating, my brethren, there is needed a holy Yea
unto life: ITS OWN will, willeth now the spirit; HIS OWN world winneth
the world's outcast.

Three metamorphoses of the spirit have I designated to you: how the
spirit became a camel, the camel a lion, and the lion at last a child.--

Thus spake Zarathustra. And at that time he abode in the town which is
called The Pied Cow.

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since feeling is first, by e.e. cummings





Edward Estlin Cummings at Joy Farm in New Hampshire, the peaceful place where he got to enjoy life after being a Prisoner of War during World War I
Edward Estlin Cummings enjoying life at his
Joy Farm in New Hampshire.  Only having seen
the worst humanity had to offer was he able
to write some of the most beautiful, loving,
yet still socially conscious poems of all time.


since feeling is first
who pays any attention to the syntax of things
will never wholly kiss you;

wholly to be a fool
while Spring is in the world

my blood approves,
and kisses are better fate
than wisdom
lady i swear by all flowers. Don't cry
-the best gesture of my brain is less than
your eyelids' flutter which says

we are for each other: then
laugh, leaning back in my arms
for life's not a paragraph

And death i think is no parenthesis




-----
Originally published in is 5 by E. E. Cummings.  Since it isn't public domain yet, you can read about half of the poems contained therein by clicking here.

-----

e.e. cummings (without capital letters as he did not like capital letters much) was born in Cambridge, Massachusetts, on October 14, 1894.  He died on September 3, 1962, being the second most widely read poets in the United States after Robert Frost [read some of his poems], as great a poet and wonderful counterpart precisely because they almost represent polar opposites insofar as style, tone and thematic content.

After completing undergraduate studies and a Masters of Arts at Harvard University by 1916, Edward Estlin Cummings enlisted as a volunteer ambulance driver during World War I.  Five months later, he was detained on suspicion of espionage by French authorities.  The consistent and constant vitalist message in his poetry, his enduring love of life, is likely a product of having witnessed the "War to End All Wars".

Of course, the "War to End All Wars" did not end all wars and, in fact, led to an even deadlier and longer one, World War II, only two decades later.  However, contrary to popular belief, World War I was far more gruesome for participants than was WWII.  The reason for this is largely technological. On the one hand, airplanes were still too basic to provide any decisive advantage, and tanks only came into existence near the end of that war, invented by the English and quickly replicated by everyone else, but these were too few, clunky and slow to permit the quick troop movements seen during the Second World War.

First World War tanks were bulky, slow, loud machines that scared men in the trenches.
World War I tank.  These roaring machines were so noisy
and scary that their tactical effect was more psychological
than anything else.  Just imagine being holed up in a tench
and seeing one of these buzzing machines you had never seen before
coming toward you and ignoring the many lines of barbed wire.

On the other hand, the machine gun had been perfected and great strides had been made in artillery, mortars, and in chemical warfare, particularly mustard gas, against which early gas masks afforded little protection.

Machine guns were the primary force that decided the bloody and frustrating course of World War I
Machine guns were the decisive force during during World War I.
Here you see infantry employing them in trench warfare
while wearing gas masks because of the frequent use
of chemical warfare as a means to advance from trench to trench.


The result was that the First World War was largely a trench war that was basically a stalemate where troops would advance with many losses from one trench to the next only to have a counterattack drive them back from that trench to where they had come from.  The use of toxic gas had two purposes: not only did it provide a cloud of cover that impeded proper aiming by machine guns, it also killed or severely injured the troops holed up in the trench that was being advanced towards.

Life in the trenches during the First World War was arguably the most miserable experience ever had in the history of warfare
Photograph of World War I infantrymen spending their days
 in trenches covered by sandbags and protected by barbed wire.


The First World War only ended because the Allied Powers managed to successfully flank the Central Power's trench lines, cutting off their front line troops from receiving supplies.  This maneuver led to a Conditional Surrender or Capitulation by the Central Powers (i.e., Germany, the Austria-Hungary Empire, Bulgaria, and the Ottoman Empire), unlike the end of World War II which was concluded in an Unconditional Surrender.

Allied Powers, Central Powers, and their colonies when the First World War began
World map of the Allied Powers, the Central Powers,
and their colonies, at the onset of World War I.  Allies shown
in green; Central Powers shown in orange, and neutral territories
are displayed in gray. Russia withdrew from the war in 1917,
ceding the territories the Central Powers had managed to occupy
following the Bolshevik Revolution and their need
to focus on internal affairs as their new state restructured.
The United Socialist Soviet Republics would get back control
over these territories following World War II.


The conditions set by the Allied Powers (i.e., the British Empire, France, Italy, and Japan) split the Austria-Hungary into two separate states, spelled the end of the Ottoman Empire, but the conditions were harshest against Germany, being considered the main culprit.  These included large territorial transfers, of particular importance are Alsace-Lorraine going to France and most of Western Prussia going to the establishment of the nation of Poland.  However, it was the large economic reparations imposed on Germany that led to its economic collapse soon afterwards and allowed the Nazi Party's rise to power.  Not surprisingly, one of Hitler's first orders of business was to violate the Treaty of Versailles via a surprise re-militarization in 1936 of the Rhineland; moreover, the German invasion of Poland on September 1939 marks the beginning of the Second World War.  Allied cowardice permitted it all, and Hitler would later say "If France had then marched into Rhineland, we would have had to withdraw with our tail between our legs", a hypothetical event that would have likely prevented WWII altogether because the French army was still overwhelmingly larger and better equipped than Germany's given that the latter had just begun the rebuilding of their military strength.

Germany's territorial extension from the onset of WWI to the end of WWII
Click to Enlarge.
German territory at onset of World War I
and the remaining territory at the end of
World War II, in gray at top, in blue at bottom.
The reunification of Germany did not occur
until 1990, following the 1989 fall of the Berlin Wall.


History aside, the psychological effects of the dehumanizing nature of World War I and the mass and unusually cruel deaths that were everyone to be seen had a profound influence on e.e. cummings' celebration of life, living, and the vitality in all of us that most people either hinder or ignore.


Otto Dix (1924) "Shock Troops Advance under Gas".
Otto Dix participated in what is known as Germany's
cultural Golden Age during the decade of the 1920s.


----------

Read more poems by Edward Estlin Cummings.




How You Know What You Know





In a now classic paper, Blakemore and Cooper (1970) showed that if a newborn cat is deprived of experiences with horizontal lines (i.e., is raised in an environment that is without horizontal stripes), it will fail to develop neurons in visual areas that are sensitive to horizontal edges. If the cat is exposed to horizontal lines while the visual areas are still optimally plastic (when the effects of learning and entrenchment have yet to set in), some neurons will quickly become selective to the feature, firing reliably when horizontal lines are part of the incoming sensation. These neurons are often referred to as ‘feature detectors’ even though the actual detection of the feature is always a network effect, that is, not the result of an isolated neuron firing, leading some to use the term tuned filters instead (see, e.g., Clark 1997).




It is well-known that our ability to categorize depends on our experiences with the objects of such categorization; moreover, research keeps finding that this phenomenon has more than a mere neurological ‘substrate’, that it permeates the very fabric of the brain (Abel et al. 1995, Sitnikova et al. 2006, Doursat & Petitot 2005). The study of this fact, however, proves very difficult for ethical reasons. Ideally, neuroscientists would experiment with children in order to see how, for example, sensory distinctions or, better yet, abstract concepts are acquired and represented. But the best means of accessing such precise data are ethically inconceivable.

To name one of the best methods currently on the market, in an ongoing project at Stanford University School of Medicine that aims to study the formation and entrenchment of sensory distinctions, Niell and Smith (2005) have recently been able to study the development, in real-time, of whole populations of neurons and their connections straight from the retina to brain regions known to process visual information. The method consists of immobilizing the growing subject and effecting two-photon imaging of neurons loaded with a fluorescent calcium indicator while experimenters control for the stimulus in order to better understand the electrochemical activity. Now remember, the aim of their efforts is to study the development of the neural connectivity and sensory capacity, which means subjecting the organism to this method for extended periods of times. Obviously, you can’t do this with children, so they are doing it with zebrafish, but the procedure promises to dazzle and reveal a lot about how sensory distinctions become entrenched in neural networks as a result of experience.

For the first time, it is possible to see how populations of neurons respond selectively to certain types of features, such as movement direction or size, and see to what extent, if any, there are innate representational constraints, such as the triggering of unlearned appearance concepts (Fodor 1998). As you probably guessed, current evidence seems to back up the claim that there are no innate representations,that they are learned from experience. The following are 6 reasons to believe that there are no pieces of knowledge or ideas that are unlearned.


1. Universal Approximators



Most complex neural networks are Universal Approximators because they can approximate any continuous function in their environment given enough time (Hornik, Stinchcombe & White 1989 or see, e.g., Zhang, Stanley & Smith 2004, Elman et al. 1996).[1] The Universal Approximator description applies to 3-layer neural networks, and obviously to those networks with a higher degree of complexity.



The human cerebral cortex is composed of innumerable overlapping 6-layer networks and each neuron can have up to 10,000 connections (see Damasio 1994, for a leisurely review). Moreover, there are many 3-layer networks in subcortical structures, as well as unlayered networks which consist of nucleuses of neurons and can provide added plasticity to an already elastic arrangement.



Universal approximators make excellent blank slates. In this respect, the interesting thing to notice is that human brains approximate the functions that they do and not others because of the characteristics of their bodies and the way they afford interaction with the world. In this way, the interaction between body and world conform the environment, a set of “time-varying stochastic function[s] over a space of input units”, according to Rumelhart (1989), which the brain must approximate.

You can learn anything, relatively quickly too. But, on the flip side, you are also likely to become what you surround yourself with. If you are surrounded by a bunch of idiots, well, sooner or later...


2. Neural Representations Mirror the World



Neural representation is symbolic but not as arbitrary as linguistic symbolization. Since neural networks are sensitive to the analog aspects of environmental functions through inductive and associative means, the internal code mirrors real-world structure in many ways, linking to what is represented through learning processes that involve neural competition that lead to self-organization and self-organizing maps (Kohonen & Hari 1999, Beatty 2001).



The structure of the mental representations arises out of the structure of what is represented (Damasio et al. 2004, Dehaene et al. 2005, Elman 2004) and what is done with that therein represented (Goswami & Ziegler 2006, Churchland & Churchland 2002, P.S. Churchland 2002). Content is everything, and that information isn't linked through logic.





3. Go Ahead and Kill a Few Braincells: Neurogenesis



We all grew up being told that we ought not to drink because it kills braincells, and braincells don't come back. Well, they do... every day. You know what actually kills them? Other brain cells because you didn't learn anything today. Yes, that's right. Since new neurons consume energy and resources, other braincells will kill them if they don't have to accept them into already existing neural networks. (Corty & Freeman 2013



Contrary to the long-held scientific dogma, there is widespread neurogenesis throughout the lifespan (Taupin 2006, Zhao et al. 2003, Gould et al. 1999). That argument in favor of ingrained pieces of knowledge went bust in 1998. However, the survival of new neurons depends on their becoming integrated into existing networks (Tashiro et al. 2006, So et al. 2006), which in turn depends on some degree on the richness and variety of the perceived environment. To say it another way, the more varied your life is, the stronger your brain will be.



Nevertheless, some networks are more entrenched than others because some processing domains are very rigidly articulated (e.g., sensory modalities, like vision, where a network’s expansion could come at the unthinkable cost of losing reliability). Other processing domains admit more flexibility and open-endedness, like language processing or memorizing your new favorite songs.

So what does kill braincells? Living a monotonous life, like that of a homeowner who day by day goes through some mindless routine. In an ironic twist of fate, that person that was telling you not to kill your braincells was probably killing way more braincells than you were by refusing to live beyond his or her routine (see, e.g., "Environmental enrichment promotes neurogenesis and changes the extracellular concentrations of glutamate and GABA in the hippocampus of aged rats" by Segovia et al. 2006).





4. The Nature of Ideas



Neural representations are function (i.e., action) specific. Knowledge gained through one action that is useful for a different, supplanting action does not transfer ‘free of charge’, so to speak (see, e.g., Thelen and Smith 1994). However, neural networks bootstrap one another towards the approximation of ever more complex functions, conforming emergent properties, whereby associations between committed functional webs (called modules in scientific circles) lead to new functional webs that subsume the previous ones.[2]

As previous action representations are co-opted instead of supplanted, the new functional web inherits the representations of its onstituent functional webs insofar as these representations become associated.  But this does not occur because they transfer the information, rather because the neural networks learn to behave in concert, in tandem, for your greater good.



For 60 years, good old fashioned cognitive scientists have wanted to convince the world that we are born with some ideas (a.k.a. Classical Cognitive Architecture), based on the ideas of Kant, Descartes and Plato. Even now, the television blurs commercials about how your genetics cause this psychological disorder or that one, so take a pill for that chemical imbalance.  Their assumption is that the chemical imbalance causes the psychological issue. They are wrong, and a new generation of cognitive scientists is just waiting for them to die out so that the next paradigm, dynamical systems, can take over, this time based on evidence instead of on theoretical assumptions and wishful thinking.  Though it has been an uphill battle, the dynamical systems perspective of mind is certainly taking over.

The chemical unbalance doesn't cause the psychological disorder; it is the psychological disorder. Your mind isn't some byproduct of your nervous system. Your mind is your nervous system; hence, it processes information in the same way. Mind and body are one.




5. Artificial Neural Networks that Organize Themselves:
An example



Superimposed artificial self-organizing networks with recurrent connections (Kohonen 2006) and newly developed genetic algorithms that permit the neuron to grow, shrink, rotate, and reproduce or absorb another neuron (Ohtani et al. 2000), are bringing about an artificial medium capable of transparently exploring many computational issues that cannot be studied as precisely with biological brains.



These models do away with innate representations altogether. You can't "program" information into them; you literally have to raise them by giving them an environment fitting to what it is you actually want them to learn and do.

The following is an example developed at the Helsinki University of Technology.  An artificial neural network called a Self-Organizing Map was trained by feeding it 39 types of measurements of quality of life factors, like access and quality of education and healthcare, nutrition, among many others.  All the data used was provided by the World Bank. The following image is the map produced by the network.   



For the benefit of our understanding, this very same map was then depicted as the world map below.  My guess is that it wont take you long to figure out what colors represent a higher degree of poverty if you compare the image above to the one below.





6. How You Know What You Know



The moral of the story seems to be that neural networks have more plasticity than plastic. For example, if the visual cortex is damaged at birth, large, medium and small scale characteristics of the functional organization of normal visual cortexes appear in the auditory cortex of the damaged brain, as other functional webs specialize in the functions typically located in the visual cortex (Sharma, Angelucci & Sur 2000, Roe et al. 1990). This same effect can be replicated by surgically redirecting the optic nerves, which suggests that there is nothing special about the networks of the visual cortex or of any piece of cortex at all. So please, I beg of you, stop believing the hype that everything is genetic.

Findings like these led to the Neuronal Empiricism Hypothesis (Beatty 2001), which states that the whole of the cerebral cortex is just one large yet segmented unsupervised, knowledge-seeking, self-organizing neural network. But neural empiricism is characteristic not just of the 6-layer networks of the cerebral cortex; though these add vast computational power to the brain, neural organization as a function of experience is the rule rather than the exception even in ‘lower’ structures.

Krishnan et al. (2005), for example, show that language experience influences sensitivity to pitch in populations of neurons of the brainstem. It’s not only the 6-layer networks that just don’t need innate representations; embodied neural networks get their representational constraints for free, from the body in the world.

Early on in our development, sensations establish further yet lasting symbols in the mind, what Barsalou (1993) calls perceptual symbols. John Locke and David Hume called them simply ideas. Today, in scientific circles, these are commonly referred to as mental representations.

There is an important difference, however, between Barsalou’s account and Hume’s, mainly that in the latter ideas are construed as less lively yet still complete copies of sensory impressions and in the former the copies are only schematic. This difference merits being highlighted as it is easily overlooked, specifically because it concerns a not-oft observed difference between primarily inductive and primarily associative learning.

Given that Hume construed the emergence of ideas as he did, his tabula is a warehouse of countless sequences of images, smells, tastes, textures, emotions, in short all the objects the mind has ever had sensations of. In contrast, because schematic records are by definition abstractions, associations between properties if you will, Barsalou’s cognitive architecture may be construed as furnishing the mind firstly with analog approximations of continuous and co-occurring properties that have been experienced, approximations that can later be used through association to fill in the blanks of particular schematic representations.

This is why murder trials can no longer be had in the United States based on a single eye-witness testimony. It is also why, when a person is placed in front of a police lineup to identify the perpetrator, the police have to say, by law, something to the effect of "remember, the person that you are trying to identify may not be in the lineup". If the police do not say that, any identification becomes inadmissible in a court of law. Why? Because your memories are reconstructions through and through, and by not saying that they are inducing the person to create a false memory.

Differently stated, while it follows from Hume's theory that baby and toddler minds record the totality of experienced events — a view followed later by Sigmund Freud — only to abstract or induce (and later associate) recurrent properties from the set, contemporary findings indicate that, first and foremost, minds approximate the properties themselves, such as shapes and colors. It is only later that these approximations can be employed towards the conformation of memories of concrete sequences of images, sounds, tastes, textures, smells, and combinations thereof.

Recall is surprisingly reconstructive. The resulting view is of a mind populated - not by countless sensory impressions but - by auto-organizing approximations of sensed properties.

During the first months of life, uncommitted neural networks in the infant’s brain approximate in an associative manner the functions of color, form, movement, depth, texture, temperature, pitch, among many, many others. In so doing, the brain develops its own personal neural code, a code that is conjunctively contoured by the processing mechanism, by the individual’s experience, and by the characteristics of the input domains. As these approximations ­— these ideas — are established, they mediate the processing of incoming sensations. Perception emerges as the real-time process of mediation, as the integration of fading sensations with enduring mental representations.

You know what you know because you are one big ball of perception flowing through your own web of ideas. And you act how you act because you've been conditioned to smithereens.

Open your eyes and do things differently. Go live outside your routine. You'll be happier and healthier as a result.



[1] Sometimes it is claimed that 3-layer, feedforward neural networks are not real universal approximators, as these can only approximate problem domains that have graded structure.  While it an open question whether more complex networks (e.g., 6-layer recurrent networks) are able to reliably approximate non-graded problem domains, it should be recognized that the immense majority of problem domains have graded structure, as practically all natural variables have graded structure.  The domain of morphology is a prime example.  Generative linguistics traditionally applied a rule-governed (non-graded) approach to this domain; however, current evidence indicates that the morphological domain has gradient structure (Hay & Baayen 2005), and thus can be reliably approximated by 3-layer networks.
[2] Properties that result from a network’s functioning as a whole, i.e., that do not result from the activation of a single neuron, are known as emergent properties. Neural codes are network specific and emerge from the interaction of the implicated neurons responding to the body in the world.


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