I
Immortalist
Various aquisition devices that guide learning along particular
pathways towards human biases. And as E.O. Wilson might say mental
development appears to be genetically constrained.
(1) Language Aquisition Device
(2) Color Aqusition Device
(3) Sound Aquistion Device
(4) Smell Aquisition Device
(5) Touch Aquisition Device
(6) Art Aquisition Device
(7) Taste Aquisition Device
------------------------
(1) Language Aquisition Device
Wilhelm von Humboldt (1767-1835) is credited with being the first
European linguist to identify human language as a rule-governed system,
rather than just a collection of words and phrases paired with
meanings. This idea is one of the foundations of Noam Chomsky's theory
of language. Chomsky frequently quotes Humboldt's description of
language as a system which "makes infinite use of finite means",
meaning that an infinite number of sentences can be created using a
finite number of grammatical rules.
http://en.wikipedia.org/wiki/Wilhelm_von_Humboldt
-------------------------
Emotion: The Science of Sentiment
Dylan Evans http://tinyurl.com/jw56p
....humans have constantly sought to discover [...] technologies of mood
that might provide a faster and more secure short cut to happiness than
words alone...
(2) Color Aqusition Device
The use of colour is one such technology. For thousands of years,
humans have decorated their own bodies and their surroundings with
unusually bright colours that stimulate our visual systems much as
chocolate stimulates our taste buds. Ever since the discovery of the
first artificial dyes, such as the red ochre with which our ancestors
painted their bodies around a hundred thousand years ago, we have used
bright colours for their emotional effects.
Colour rarely affects our emotions directly. In some mental disorders
such as autism the sight of a patch of colour may be enough to trigger
a wave of panic, but in most normal people colour influences emotion
indirectly via its influence on mood. Being in a red room may not
itself make us angry, but it may put us into an irritable mood, with
the result that it takes less to make us lose our temper. The Italian
film director Michelangelo Antonioni once painted the canteen red to
put his actors in the right mood for some tense scenes, but after a few
weeks he noticed that other workers using the canteen had become more
aggressive and had even come to blows on a few occasions.
Some of the most convincing scientific evidence about the effects of
colour on mood comes from some experiments conducted by the
psychologist Nicholas I lumphrey. Humphrey put monkeys into specially
designed cages each consisting of two chambers connected by a tunnel.
When one chamber was lit by a blue light and the other by a red light,
the monkeys consistently preferred the blue one. They would venture
into the red chamber out of curiosity, and then quickly retreat into
the blue chamber, where they would remain. If both chambers were red,
the monkeys ran back and forth from one chamber to the other, without
settling in either. Red made the monkeys irritable and nervous, while
blue put them in a relaxed mood.
Red and blue produce similar emotional effects in humans. When people
are exposed to red light, blood pressure rises, breathing speeds up,
and the heart beats faster. Blue light has the opposite effects.
Subjectively, people feel warmer in red rooms but also more nervous and
aggressive. These responses are not merely cultural artefacts;
two-week-old babies can be soothed more easily in blue than in red
light, which suggests that at least part of our emotional response to
colour is innate. But why should natural selection have programmed our
minds in this way? How could a taste for certain bright colours or an
aversion to others possibly have helped our ancestors to survive? Does
red owe its warming effect to the fact that the two sources of heat our
ancestors had-sunlight and firelight-are both this colour? What
about the anxiety-provoking character of red light then? Is this due to
the fact that red is also the colour of blood?
Whatever the reason for our innate colour preferences, nature rarely
offers us a large expanse of a single colour. A vivid sunset may
occasionally paint the whole sky in one consistent shade of pink or
purple, but nature's beauties are more usually mosaics of many
different colours. A peacock's tail and a beautiful landscape both
offer a myriad different shades to the viewer's eye, not a
monochromatic expanse like Antonioni's red canteen. By taking a single
colour out of its natural setting, and using it to fill the entire
visual field, paint and lighting amplify the natural effects of colour.
In the technical terms of biology, artificial colours are
'super-stimuli'. They achieve their effects by keying into the same
evolved preferences that nature keys into, but they strike the keys
much more forcefully. Compared to the neon glow of rococo art, nature
is 'too green and badly lit', remarked the painter Francois Boucher.
A single uniform patch of colour is not always more emotionally
powerful than a mosaic, however. What the mosaic loses in simplicity it
can gain from careful arrangement. The emotional effects of such
arrangements vary much more from person to person than the effects of
single colours, so that one painting may produce a profound effect on
one person while leaving another person cold. However, there are still
some remarkable regularities in our aesthetic preferences. When asked
to choose between a selection of abstract paintings, most people prefer
the same one. Furthermore, they usually prefer the one painted by a
famous artist rather than versions of this that have been modified in
random ways by a computer. The original paintings must embody features
that the human visual system is programmed to find most appealing. At
present, scientists do not know what these features are, but the
artists who painted the popular paintings must have had some intuitive
appreciation of them. As the landscape painter John Constable remarked,
painting is a science of which pictures are but the experiments. Both
abstract art and representational art require considerable skill on the
part of the artist, even if only in telling the experiments that work
from those that do not.
(3) Sound Aquistion Device
Just as various colours may be arranged to produce a pleasing image, so
sounds of varying frequency may be arranged to produce a pleasing
melody. Music, like visual art, is a technology designed to tap
directly into our perceptual capacities purely for the sake of
producing pleasure. In Steven Tinker's words, music is 'auditory
cheesecake'; for Shakespeare, music was also the food of love,
indicating that music can also induce emotions other than happiness.
Like visual art, music affects our emotions indirectly, by changing our
mood. Little scientific research has been done to find exactly which
kinds of music tend to put people in which moods, but most people today
know the irritating effects of being exposed to loud, repetitive music
from a neighbour's flat or a fellow-passenger's Walkman. Hearing such
music does not usually send you into a fit of rage immediately. Rather,
it gradually puts you in a bad mood, which then makes you more easily
angered. Similarly, supermarkets do not use soft music to make us happy
directly; that would rather defeat their objective, since the
supermarket bosses do not want you to feel fulfilled by the music
itself. Rather, they hope that the music will put you in a relaxed
mood, which will in turn make you more sensitive to happiness-inducing
thoughts, such as the anticipated pleasure of consuming an expensive
chocolate cake.
Among the little scientific research that has been done in this area,
one intriguing finding is that many compositions by Mozart, such as
Eine kleine Nachtmusik, reliably produce good moods in those who hear
them. This happens even if the listener is not particularly keen on
classical music, which suggests that good composers tap into universal
musical preferences in the way that good artists tap into universal
visual preferences. Some support for this view can be found in recent
neuroscien-tific research, which has found that, when a person listens
to a classical melody, the neurons in different brain regions fire more
synchronously than when the person listens to a random sequence of the
same notes. The reason for this sense of melody, however, is still a
mystery.
(4) Smell Aquisition Device
In humans, as in other primates, the visual system is highly developed,
followed closely by the auditory system. The other sensory modalities
are much less complex, or at least we are much less aware of their
complexity. So it is not surprising that the sensory technologies of
mood we esteem the most-art and music -are those that gratify our
eyes and ears, while those that appeal to our other senses are accorded
less dignity. Nevertheless, the senses of smell, taste, and touch have
not been neglected. The emotional effects of different smells are
poorly understood, though aromatherapists have developed some
interesting taxonomies. The perfume industry is based on the emotional
power of smell, and in many religions, from Buddhism to Christianity,
worshippers burn incense to put themselves in a more contemplative
mood.
(5) Touch Aquisition Device
The emotional effect of touch is better understood. Being caressed by
another person releases natural opiates in the brain that are
associated with a relaxed frame of mind. The evolutionary basis for
this may lie in our recent primate past, around the time of the last
common ancestor of humans and chimpanzees, some five million years ago.
Grooming may well have been as important for this creature as it is for
modern chimpanzees, who spend hours each day removing the ticks from
each other's fur. This grooming does not merely rid the other chimp of
parasites; it also serves as a reliable sign of friendship. A
preference for such a reliable signal of friendship would have
motivated our furry ancestors to seek out friends. Those who did not
like being groomed would have found themselves without allies when it
came to a fight.
(6) Art Aquisition Device
Just as our evolved visual preferences are the raw material for visual
art, so our evolved tactile preferences are the raw material for
massage. Massage is an old technology, like art and music. It was
practised by the ancient Egyptians, and Hippocrates recommended doctors
to 'be experienced in many things but assuredly in rubbing'. Today,
orthodox medicine is beginning to rediscover the therapeutic value of
massage, while it has been one of the central aspects of many
alternative therapies for decades.
(7) Taste Aquisition Device
The gustatory technology of mood is, of course, cooking. By processing
natural foods in a variety of ways, and combining them according to
well-tested recipes, cooking does for natural flavours what painting
does for natural colours and music for natural sounds. It cranks them
up into a super-stimulus, tickling our taste buds more seductively than
nature ever did. If strawberries taste good because they are sweet,
cooks can make ultra-sugary things like strawberry ice cream that taste
twice as good. Here, natural selection takes her revenge on us for
daring to take the short cut to happiness instead of following the
winding paths she set up for us to follow. Having given us a cheap and
simple mechanism for finding glucose-a sweet tooth-she left us open
to the dangers of wanting more than is good for us. In the stone age,
that did not matter, since sugar came only in a rather diluted form
called fruit. Today, however, where sugar comes in concentrated lumps
called sweets, our intense desire for it can pose a serious problem for
health. Obesity is now reaching epidemic levels in many affluent
countries, and this is due largely to the dangerous combination of
evolved desires for large amounts of sugar and fat, and the novel
technology that is cooking.
Gustatory technologies of mood aim to induce good moods by stimulating
our taste buds or by producing other chemical effects further
downstream in the digestive process. Chocolate is quite an effective
mood booster, as indeed are most foods and drinks that contain sugar.
However, research has shown that, while most people feel more positive
and energetic immediately after eating a chocolate bar, this effect
soon wanes, and an hour afterwards they tend to feel even worse than
they did before eating the chocolate in the first place. Tea and coffee
have similar effects, with a short-term boost in mood being followed by
a medium-term decrease. Most drugs have the same effect. In fact, the
distinction between foodstuffs and drugs is a rather arbitrary one, and
even today there is still no scientific basis for distinguishing drugs
from the various other kinds of substance we consume. We tend to call
something a drug if we consume it primarily -for its psycho-tropic
effects rather than for its nutritional or gustatory ones, but most
kinds of food and drink have some effect on your state of mind. Cottage
cheese and chicken liver, for example, both contain high levels of
tryptophan, which the brain uses to make a chemical called serotonin,
which in turn is associated with good moods. A friend of mine who is a
vet once fed his dogs on a diet of cottage cheese and chicken liver for
a week, after which they seemed much happier and more energetic than
usual. Drugs are best seen as the end of a continuum of foods rather
than a completely separate category.
Emotion: The Science of Sentiment
Dylan Evans http://tinyurl.com/jw56p
pathways towards human biases. And as E.O. Wilson might say mental
development appears to be genetically constrained.
(1) Language Aquisition Device
(2) Color Aqusition Device
(3) Sound Aquistion Device
(4) Smell Aquisition Device
(5) Touch Aquisition Device
(6) Art Aquisition Device
(7) Taste Aquisition Device
------------------------
(1) Language Aquisition Device
Wilhelm von Humboldt (1767-1835) is credited with being the first
European linguist to identify human language as a rule-governed system,
rather than just a collection of words and phrases paired with
meanings. This idea is one of the foundations of Noam Chomsky's theory
of language. Chomsky frequently quotes Humboldt's description of
language as a system which "makes infinite use of finite means",
meaning that an infinite number of sentences can be created using a
finite number of grammatical rules.
http://en.wikipedia.org/wiki/Wilhelm_von_Humboldt
-------------------------
Emotion: The Science of Sentiment
Dylan Evans http://tinyurl.com/jw56p
....humans have constantly sought to discover [...] technologies of mood
that might provide a faster and more secure short cut to happiness than
words alone...
(2) Color Aqusition Device
The use of colour is one such technology. For thousands of years,
humans have decorated their own bodies and their surroundings with
unusually bright colours that stimulate our visual systems much as
chocolate stimulates our taste buds. Ever since the discovery of the
first artificial dyes, such as the red ochre with which our ancestors
painted their bodies around a hundred thousand years ago, we have used
bright colours for their emotional effects.
Colour rarely affects our emotions directly. In some mental disorders
such as autism the sight of a patch of colour may be enough to trigger
a wave of panic, but in most normal people colour influences emotion
indirectly via its influence on mood. Being in a red room may not
itself make us angry, but it may put us into an irritable mood, with
the result that it takes less to make us lose our temper. The Italian
film director Michelangelo Antonioni once painted the canteen red to
put his actors in the right mood for some tense scenes, but after a few
weeks he noticed that other workers using the canteen had become more
aggressive and had even come to blows on a few occasions.
Some of the most convincing scientific evidence about the effects of
colour on mood comes from some experiments conducted by the
psychologist Nicholas I lumphrey. Humphrey put monkeys into specially
designed cages each consisting of two chambers connected by a tunnel.
When one chamber was lit by a blue light and the other by a red light,
the monkeys consistently preferred the blue one. They would venture
into the red chamber out of curiosity, and then quickly retreat into
the blue chamber, where they would remain. If both chambers were red,
the monkeys ran back and forth from one chamber to the other, without
settling in either. Red made the monkeys irritable and nervous, while
blue put them in a relaxed mood.
Red and blue produce similar emotional effects in humans. When people
are exposed to red light, blood pressure rises, breathing speeds up,
and the heart beats faster. Blue light has the opposite effects.
Subjectively, people feel warmer in red rooms but also more nervous and
aggressive. These responses are not merely cultural artefacts;
two-week-old babies can be soothed more easily in blue than in red
light, which suggests that at least part of our emotional response to
colour is innate. But why should natural selection have programmed our
minds in this way? How could a taste for certain bright colours or an
aversion to others possibly have helped our ancestors to survive? Does
red owe its warming effect to the fact that the two sources of heat our
ancestors had-sunlight and firelight-are both this colour? What
about the anxiety-provoking character of red light then? Is this due to
the fact that red is also the colour of blood?
Whatever the reason for our innate colour preferences, nature rarely
offers us a large expanse of a single colour. A vivid sunset may
occasionally paint the whole sky in one consistent shade of pink or
purple, but nature's beauties are more usually mosaics of many
different colours. A peacock's tail and a beautiful landscape both
offer a myriad different shades to the viewer's eye, not a
monochromatic expanse like Antonioni's red canteen. By taking a single
colour out of its natural setting, and using it to fill the entire
visual field, paint and lighting amplify the natural effects of colour.
In the technical terms of biology, artificial colours are
'super-stimuli'. They achieve their effects by keying into the same
evolved preferences that nature keys into, but they strike the keys
much more forcefully. Compared to the neon glow of rococo art, nature
is 'too green and badly lit', remarked the painter Francois Boucher.
A single uniform patch of colour is not always more emotionally
powerful than a mosaic, however. What the mosaic loses in simplicity it
can gain from careful arrangement. The emotional effects of such
arrangements vary much more from person to person than the effects of
single colours, so that one painting may produce a profound effect on
one person while leaving another person cold. However, there are still
some remarkable regularities in our aesthetic preferences. When asked
to choose between a selection of abstract paintings, most people prefer
the same one. Furthermore, they usually prefer the one painted by a
famous artist rather than versions of this that have been modified in
random ways by a computer. The original paintings must embody features
that the human visual system is programmed to find most appealing. At
present, scientists do not know what these features are, but the
artists who painted the popular paintings must have had some intuitive
appreciation of them. As the landscape painter John Constable remarked,
painting is a science of which pictures are but the experiments. Both
abstract art and representational art require considerable skill on the
part of the artist, even if only in telling the experiments that work
from those that do not.
(3) Sound Aquistion Device
Just as various colours may be arranged to produce a pleasing image, so
sounds of varying frequency may be arranged to produce a pleasing
melody. Music, like visual art, is a technology designed to tap
directly into our perceptual capacities purely for the sake of
producing pleasure. In Steven Tinker's words, music is 'auditory
cheesecake'; for Shakespeare, music was also the food of love,
indicating that music can also induce emotions other than happiness.
Like visual art, music affects our emotions indirectly, by changing our
mood. Little scientific research has been done to find exactly which
kinds of music tend to put people in which moods, but most people today
know the irritating effects of being exposed to loud, repetitive music
from a neighbour's flat or a fellow-passenger's Walkman. Hearing such
music does not usually send you into a fit of rage immediately. Rather,
it gradually puts you in a bad mood, which then makes you more easily
angered. Similarly, supermarkets do not use soft music to make us happy
directly; that would rather defeat their objective, since the
supermarket bosses do not want you to feel fulfilled by the music
itself. Rather, they hope that the music will put you in a relaxed
mood, which will in turn make you more sensitive to happiness-inducing
thoughts, such as the anticipated pleasure of consuming an expensive
chocolate cake.
Among the little scientific research that has been done in this area,
one intriguing finding is that many compositions by Mozart, such as
Eine kleine Nachtmusik, reliably produce good moods in those who hear
them. This happens even if the listener is not particularly keen on
classical music, which suggests that good composers tap into universal
musical preferences in the way that good artists tap into universal
visual preferences. Some support for this view can be found in recent
neuroscien-tific research, which has found that, when a person listens
to a classical melody, the neurons in different brain regions fire more
synchronously than when the person listens to a random sequence of the
same notes. The reason for this sense of melody, however, is still a
mystery.
(4) Smell Aquisition Device
In humans, as in other primates, the visual system is highly developed,
followed closely by the auditory system. The other sensory modalities
are much less complex, or at least we are much less aware of their
complexity. So it is not surprising that the sensory technologies of
mood we esteem the most-art and music -are those that gratify our
eyes and ears, while those that appeal to our other senses are accorded
less dignity. Nevertheless, the senses of smell, taste, and touch have
not been neglected. The emotional effects of different smells are
poorly understood, though aromatherapists have developed some
interesting taxonomies. The perfume industry is based on the emotional
power of smell, and in many religions, from Buddhism to Christianity,
worshippers burn incense to put themselves in a more contemplative
mood.
(5) Touch Aquisition Device
The emotional effect of touch is better understood. Being caressed by
another person releases natural opiates in the brain that are
associated with a relaxed frame of mind. The evolutionary basis for
this may lie in our recent primate past, around the time of the last
common ancestor of humans and chimpanzees, some five million years ago.
Grooming may well have been as important for this creature as it is for
modern chimpanzees, who spend hours each day removing the ticks from
each other's fur. This grooming does not merely rid the other chimp of
parasites; it also serves as a reliable sign of friendship. A
preference for such a reliable signal of friendship would have
motivated our furry ancestors to seek out friends. Those who did not
like being groomed would have found themselves without allies when it
came to a fight.
(6) Art Aquisition Device
Just as our evolved visual preferences are the raw material for visual
art, so our evolved tactile preferences are the raw material for
massage. Massage is an old technology, like art and music. It was
practised by the ancient Egyptians, and Hippocrates recommended doctors
to 'be experienced in many things but assuredly in rubbing'. Today,
orthodox medicine is beginning to rediscover the therapeutic value of
massage, while it has been one of the central aspects of many
alternative therapies for decades.
(7) Taste Aquisition Device
The gustatory technology of mood is, of course, cooking. By processing
natural foods in a variety of ways, and combining them according to
well-tested recipes, cooking does for natural flavours what painting
does for natural colours and music for natural sounds. It cranks them
up into a super-stimulus, tickling our taste buds more seductively than
nature ever did. If strawberries taste good because they are sweet,
cooks can make ultra-sugary things like strawberry ice cream that taste
twice as good. Here, natural selection takes her revenge on us for
daring to take the short cut to happiness instead of following the
winding paths she set up for us to follow. Having given us a cheap and
simple mechanism for finding glucose-a sweet tooth-she left us open
to the dangers of wanting more than is good for us. In the stone age,
that did not matter, since sugar came only in a rather diluted form
called fruit. Today, however, where sugar comes in concentrated lumps
called sweets, our intense desire for it can pose a serious problem for
health. Obesity is now reaching epidemic levels in many affluent
countries, and this is due largely to the dangerous combination of
evolved desires for large amounts of sugar and fat, and the novel
technology that is cooking.
Gustatory technologies of mood aim to induce good moods by stimulating
our taste buds or by producing other chemical effects further
downstream in the digestive process. Chocolate is quite an effective
mood booster, as indeed are most foods and drinks that contain sugar.
However, research has shown that, while most people feel more positive
and energetic immediately after eating a chocolate bar, this effect
soon wanes, and an hour afterwards they tend to feel even worse than
they did before eating the chocolate in the first place. Tea and coffee
have similar effects, with a short-term boost in mood being followed by
a medium-term decrease. Most drugs have the same effect. In fact, the
distinction between foodstuffs and drugs is a rather arbitrary one, and
even today there is still no scientific basis for distinguishing drugs
from the various other kinds of substance we consume. We tend to call
something a drug if we consume it primarily -for its psycho-tropic
effects rather than for its nutritional or gustatory ones, but most
kinds of food and drink have some effect on your state of mind. Cottage
cheese and chicken liver, for example, both contain high levels of
tryptophan, which the brain uses to make a chemical called serotonin,
which in turn is associated with good moods. A friend of mine who is a
vet once fed his dogs on a diet of cottage cheese and chicken liver for
a week, after which they seemed much happier and more energetic than
usual. Drugs are best seen as the end of a continuum of foods rather
than a completely separate category.
Emotion: The Science of Sentiment
Dylan Evans http://tinyurl.com/jw56p