Tan eterna y simpática fue tu sonrisa que me despipoyé en trozos de cristales con forma de fractales violetas.
Solucionaste mi esencia y a un mar de nubes transparentes me llevaste a través del éxtasis que produjo en mi piel tu baile y tu esplendor.
Repetimos y nos dijimos tantas cosas bonitas que la cera de las orejas se nos evaporó y se integró en el ecosistema de gaia.
Bailando, pensando, solucionando las dudas en un campo verde por donde corre el agua,y el tecnohouse; con palmas de bulería a síncopa de fondo; se funde en efervescente sensualidad y consentimiento cada vez que nuestros invisibles pero sentibles relojes atómicos marcan un nuevo nanosegundo de existencia en el amplísimo marco vivencial del multiverso.
La sensoesfera nos llevó a un concenso nítido y limpio que nos impulso a deslizarnos por el tobagan de la complejidad. Tal fue el nudo cuando me despedí de tí que aún se me hielan los ojos, se me taponan los orificios de la nariz, y me derrito como se derritiría un batido de trufas heladas en pleno agosto en la playa.
La teoría de los universos fecundos, también llamada selección natural cosmológica, es una teoría del físico Lee Smolin, que aplica criterios semejantes a los de la selección natural darwiniana a la cosmología, de suerte que el universo conocido podría ser el resultado de una evolución y una mutación de universos anteriores.[1]
Esta teoría se expone en el libro "The life of the cosmos" (La vida del cosmos), publicado en 1997 por la Oxford Universitiy Press.[2] Contenido [ocultar]
* 1 Hipótesis * 2 Críticas * 3 Referencias * 4 Biografía de referencia
Hipótesis [editar]
Lee Smolin sugiere que las normas de la biología son aplicables a escala cósmica, particularmente la que él llama selección natural cosmológica.
Smolin considera teóricamente que el colapso de un agujero negro provoca la aparición de un nuevo universo del "otro lado" de la singularidad, tal universo podría tener leyes, constantes y parámetros propios, algo diferentes del universo conocido (por ejemplo otra velocidad de propagación máxima, diferente de c, otras constantes cosmológicas, etc).[1]
Así, esta noción biologicista del universo supone posibles "reproducciones" y "mutaciones" de universos, lo que conlleva implícita la noción de un multiverso. Cabe considerar que tal biologicismo no es exactamente análogo al de los procesos biológicos reducidos de la Tierra.[1]
La idea de una evolución y una mutación de universos supone también la existencia de universos "más primitivos" (acaso más simples). Según expresa Smolin en The Life of the Cosmos (La vida del cosmos), los universos dominantes podrían ser aquellos que poseyeran más agujeros negros.[1] Críticas [editar]
Es necesario tener en cuenta que lo imaginado por Smolin es altamente especulativo y, a pesar de su nombre, no constituye estrictamente hablando una teoría científica, pues carece de pruebas y es incapaz de realizar predicciones que puedan ser contrastadas experimentalmente. Por este motivo ha sufrido críticas principalmente de tipo falsacionista, en el sentido de que las predicciones de Smolin no se pueden demostrar ni contradecir, y por tanto no son ciencia. A estas fuertes objeciones, él ha respondido que el estudio de los agujeros negros del universo conocido podrá afirmar o refutar sus opiniones teóricas.
MARTIN REES
Martin John Rees OM (Shropshire, Reino Unido, 23 de junio de 1942), es un astrónomo británico.
Obtuvo su doctorado por la Universidad de Cambridge en 1967. En la actualidad es profesor de Cosmología y Astrofísica en dicha universidad. Dentro de sus líneas de investigación se encuentran la astrofísica de altas energías y la formación de la estructura del Universo.
Ha estudiado el papel desempeñado por la materia oscura en la formación y propiedades de las galaxias mediante la simulación informática y la distribución de los cuásares y su relación con los agujeros negros. Ha publicado más de quinientos artículos y siete libros, cinco de ellos de divulgación científica.
Galardonado en 1987 con la Medalla de oro de la Real Sociedad Astronómica, en 1989 con el Premio Balzan y en 2005 con el Premio Crafoord, es el presidente de la Real Sociedad de Londres desde el 1 de diciembre de 2005. Obras [editar] Edición en español [editar]
* Rees, Martin (2006). Universo: la guía visual definitiva. Pearson Alhambra. ISBN 978-84-205-5141-8. * — (2004). Nuestra hora final: ¿será el siglo XXI el último de la humanidad?. Editorial Crítica. ISBN 978-84-8432-549-9. * — (2002). Nuestro hábitat cósmico. Ediciones Paidós Ibérica. ISBN 978-84-493-1279-3. * — (2001). Seis números nada más. Editorial Debate. ISBN 978-84-8306-456-6. * — (1999). Antes del principio: el cosmos y otros universos. Tusquets Editores. ISBN 978-84-8310-624-2. * Gribbin, John R.; Rees, Martin (1991). Coincidencias cósmicas: materia oculta, especie humana y cosmología antrópica. Ediciones Pirámide. ISBN 978-84-368-0510-9.
STEVE JONES
Steve Jones, (born 24 March 1944) is a professor of genetics and head of the Department of Genetics, Evolution and Environment at University College London.[1] His studies are conducted in the Galton Laboratory. He is also a television presenter and a prize-winning author on the subject of biology, especially evolution. He is one of the best known contemporary popular writers on evolution. His popular writing shows a wry, sometimes rather dark, sense of humour. In 1996 his writing won him the Royal Society Michael Faraday prize "for his numerous, wide ranging contributions to the public understanding of science in areas such as human evolution and variation, race, sex, inherited disease and genetic manipulation through his many broadcasts on radio and television, his lectures, popular science books, and his regular science column in The Daily Telegraph and contributions to other newspaper media". Contents [hide]
* 1 Early life * 2 Career * 3 Claims and opinions o 3.1 Human evolution o 3.2 Creationism o 3.3 Private education * 4 Selected publications o 4.1 Books o 4.2 Articles * 5 Radio and television * 6 Quotations * 7 References * 8 External links
[edit] Early life
Jones was born in Aberystwyth, Wales, both of his parents having met as students at the University of Aberystwyth. Until he was about ten years old the family were accommodated alternately at his paternal grandparents' house in New Quay and his maternal grandparents' house near Aberystwyth. Later the family moved to the Wirral because of his father's work, and returned to Wales for their holidays.[2]
Jones' paternal grandparents lived in New Quay, Ceredigion, Wales. His paternal grandfather and great grandfather were both sea captains. His father was a PhD chemist and worked on detergents. Dylan Thomas was an acquaintance of his father and they used to drink together in the town at the Black Lion pub. As a child Jones had to follow strict disciplinary rules at their home and he was never allowed to be left alone in the house. He spent a lot of his time in the attic which contained some seafaring equipment, and boxes of books covering a wide variety of topics, many of which Jones read.[2]
Jones' maternal grandparents lived in Bow Street, Ceredigion, near Aberystwyth, in a double-fronted house that they bought for £2,750.00 in 1946; a high price for a house in the locality at that time. Jones spoke a lot of Welsh until he was 6 or 7 years old, and at that time many people in the locality preferred to speak Welsh; some speaking Welsh only. The Welsh Presbyterian church was the centre of the community, and Jones' great grandfather, William Morgan, was an incumbent at the church for about 40 years. Jones' grandparent's were strongly Presbyterian and spoke both English and Welsh, but preferred to speak Welsh. His grandfather, John James Morgan, was a school headmaster and used to take Jones on long walks in the countryside, as well as play chess with him. His mother Nancy was one of nine siblings, and Jones was often surrounded by relatives. Jones and a cousin spent a lot of time playing in the countryside on a local earth mound surrounded by a ditch and an outer wall, the remains of an ancient Norman castle. As an 8-year-old child he thought it was a pre-Christian Iron Age fort, and imagined it was where his Celtic ancestors might have lived. He also observed the wildlife in the area, particularly the birds, starting his scientific interests.[2] [edit] Career
Jones has a BSc and PhD degrees from the University of Edinburgh together with a variety of honorary degrees. Much of his research has been concerned with snails and the light their anatomy can shed on biodiversity and genetics. His book In the Blood explores, confirms and debunks some commonly held beliefs about inheritance and genetics. Topics explored include issues as diverse as "lost tribes", European royal families, and haemophilia.
Professor Jones is a Distinguished Supporter of the British Humanist Association. He was awarded the second Irwin Prize for Secularist of the Year by the National Secular Society on 7 October, 2006. [edit] Claims and opinions [edit] Human evolution
Jones' view that in humans "Natural selection has to some extent been repealed" [3] dates back at least to 1991 and has been the focus of a number of newspaper reports and radio interviews.[4][5][6] His views are largely based on his claim that reduced juvenile mortality, decreasing age of fathers, and greater interconnectedness of populations in Western societies reduce evolution. Both the data supporting these assertions and his views of the way these factors influence evolution in populations have been extensively criticised by other academics however. [7][8][9][10][11][12] [edit] Creationism
Jones has stated that creationism is "anti-science" and criticised creationists such as Ken Ham. Jones suggested in a BBC Radio Ulster interview in 2006 that Creationists should be disallowed from being medical doctors because "all of its (Creationism's) claims fly in the face of the whole of science" and he further claimed that no serious biologist can believe in biblical creation. For Jones, 'evolution is the grammar of biology'.[13] Jones elaborated on his full position on creationism in a public lecture entitled 'Why creationism is wrong and evolution is right'.[14] [edit] Private education
In an interview on the BBC Radio 5 show '5 Live Breakfast' hosted by Nicky Campbell and Shelagh Fogarty on 13 January 2009, Jones described private schools as a "cancer on the education system".[15] Jones cites private schools as one of the reasons that Britain remains as socially stratified as it is. Among the advantages in private schools compared to state schools, Jones listed smaller classroom sizes, highly-trained teachers, better facilities, coaching through university interviews.[15] [edit] Selected publications [edit] Books
* Jones, Steve (1993). The Language of the Genes. Flamingo. ISBN 0-00-655243-9. winner of (Aventis Prize winner) * Jones, Steve; Dawkins, Richard; Martin, Robert D.; Pilbeam, David R. (1994). The Cambridge Encyclopedia of Human evolution. Cambridge University Press. ISBN 0-521-46786-1. * Jones, Steve (1997). In the Blood: God, Genes and Destiny. Houghton Miffin. ISBN 0-00-255512-3. * Jones, Steve (1999). Almost Like a Whale: The Origin of Species Updated. Doubleday. ISBN 0-385-40985-0. * Jones, Steve (2000). Darwin's Ghost: The Origin of Species Updated. Ballantine Books. ISBN 0-345-42277-5. * Jones, Steve (2003). Y: The Descent of Men. Flamingo. ISBN 0-618-13930-3. * Jones, Steve and Van Loon, Borin (2005). Introducing Genetics. Totem Books. ISBN 1-84046-636-7. * Jones, Steve (2007). Coral. Little, Brown. ISBN 978-0-316-72938-3. * Jones, Steve (2009). Darwin's Island. Little, Brown. ISBN 978-1-408-70000-6.
[edit] Articles
* Steve Jones' View from the Lab * Steve Jones: Why is there so much genetic diversity * Steve Jones: Don't blame the genes
[edit] Radio and television
Jones was the 1991 Reith Lecturer on BBC Radio, with a series entitled The Language of the Genes, the basis of his 1993 book of the same name.[16]
He presented In the Blood, a six-part TV series on human genetics first broadcast in 1996, see book of same name in bibliography. [edit] Quotations
* "Evolution is inevitable. It depends on mistakes in reproduction." * "... the key to evolution, design without a designer: the preservation of favourable variations and rejection of those injurious."
[edit] References
1. ^ "Academic Staff at UCL Department of Genetics, Evolution and Environment". University College London. 2009-09-15. http://www.ucl.ac.uk/biology/academic-staff/. 2. ^ a b c "The House I Grew Up In, with Steve Jones as participant". The House I Grew Up In. BBC. BBC Radio 4. 2009-09-15. 3. ^ Stevens, William K (March 14 1995). "Evolution of Humans May at Last Be Faltering". The New York Times. http://www.nytimes.com/1995/03/14/science/evolution-of-humans-may-at-last-be-faltering.html?sec=&spon=&pagewanted=print. 4. ^ BBC Radio 4 Today programme and BBC Five Live on 7 October 2008 5. ^ Belluz, Julia (October 7 2008). "Leading geneticist Steve Jones says human evolution is over". The Times (London). http://www.timesonline.co.uk/tol/news/science/article4894696.ece. 6. ^ McKie, Robin (February 3 2002). "Is human evolution finally over?". The Observer (London). http://www.guardian.co.uk/science/2002/feb/03/genetics.research. 7. ^ "Human evolution stopping? Wrong, wrong, wrong". http://johnhawks.net/weblog/topics/evolution/selection/jones-evolution-stopping-2008.html. 8. ^ "No Virginia, evolution isn't ending". http://scienceblogs.com/gnxp/2008/10/no_evolution_isnt_ending_virgi.php. 9. ^ "Evolution, why it still happens (in pictures)". http://scienceblogs.com/gnxp/2008/10/evolution_in_pictures_why_it_s.php. 10. ^ "Steven Jones is being silly". http://www.gnxp.com/blog/2008/10/steven-jones-is-being-silly.php. 11. ^ "Not the end of evolution again!". http://scienceblogs.com/evolvingthoughts/2008/10/not_the_end_of_evolution_again.php. 12. ^ "Some comments on Steve Jones and human evolution". http://dienekes.blogspot.com/2008/10/some-comments-on-steve-jones-and-human.html. 13. ^ Steve Jones radio interview on "Sunday Sequence" - BBC Radio Ulster 19-03-06 14. ^ Steve Jones - Why creationism is wrong and evolution is right, Royal Society public lecture, April 2006 15. ^ a b BBC Radio 5 Live: Breakfast, broadcast 13th January 2009 16. ^ BBC website Historic Reith Lectures
* Steve Jones: A highly original species * Steve Jones: Is human evolution finally over? * Professor Steve Jones: My work space
STEVEN PINKER
Steven Arthur Pinker (nacido el 18 de septiembre de 1954, en Montreal, Canadá) es un prominente psicólogo experimental norteamericano, científico cognitivo y un popular escritor, conocido por su defensa enérgica y de gran alcance de la psicología evolucionista y de la teoría computacional de la mente. Sus especializaciones académicas son la percepción y el desarrollo del lenguaje en niños, es más conocido por argüir que el lenguaje es un "instinto" o una adaptación biológica modelada por la selección natural. Sus cuatro libros dirigidos al publico en general —El instinto del lenguaje, Cómo funciona la mente, Palabras y reglas y La tabla rasa— han ganado numerosos premios y le han dotado de renombre. Contenido [ocultar]
* 1 Biografía y carrera * 2 Lenguaje como instinto * 3 Teoría de la mente * 4 Crítica * 5 Premios y reconocimientos * 6 Publicaciones o 6.1 Libros * 7 Artículos y ensayos * 8 Referencias * 9 Enlaces externos
Biografía y carrera [editar]
Nació en la comunidad judía de habla inglesa de Montreal, pero se convirtió en ateo a los 13 años. Su padre, Harry, un abogado, trabajó como vendedor, mientras su madre, Roslyn, fue primero ama de casa para luego ser orientadora vocacional y vicerrectora en una secundaria. Su hermana, Susan, una psicóloga infantil, es ahora periodista y columnista, y su hermano, Robert, es analista político para el gobierno de Canadá.
Contrajo matrimonio con la psicóloga clínica Nancy Etcoff en 1980, pero se divorció de ella en 1992. En 1995 volvió a contraer nupcias con la psicóloga cognitiva nacida en Malasia Illavenin Subbiah, pero más tarde se divorciaron. Su actual novia es Rebbeca Goldstein, que es profesora de filosofía en el Trinity College en Hartford, Connecticut. No tiene hijos, hecho que a menudo causa perplejidad al tratarse de alguien que defiende la idea de que estamos programados para beneficiar a nuestros genes (pero suya es la frase: "Pero soy feliz de ser así. Si a mis genes no les gusta, que se tiren de un puente)."
Recibió su grado en psicología experimental en la universidad McGill en 1976, para luego dirigirse a Harvard a realizar su doctorado en la misma disciplina, el cual obtuvo en 1979. Es actualmente profesor de psicología en la universidad de Harvard habiendo sido previamente director del centro de neurociencia cognitiva en el Instituto Tecnológico de Massachussets.
En enero del 2005 defendió a Lawrence Summers, presidente de la universidad de Harvard, a quien sus argumentos sobre las diferencias de sexo en matemáticas y ciencias le acarrearon una gran hostilidad por parte de los miembros de la facultad. Lenguaje como instinto [editar]
Es famoso principalmente por su trabajo, popularizado en “El instinto del lenguaje” (1994), sobre como los niños adquieren el lenguaje y por su popularización del trabajo que Noam Chomsky realizó sobre el lenguaje como una facultad innata de la mente. Ha sugerido la existencia de un módulo mental evolutivo para el lenguaje, aunque su idea es aun controvertida. Va más allá que Chomsky, argumentando que muchas otras facultades mentales humanas han evolucionado. Es aliado de Daniel Dennett y Richard Dawkins en muchas disputas evolucionistas. Teoría de la mente [editar]
Sus libros: Cómo funciona la mente y La tabla rasa son trabajos seminales de la moderna psicología evolucionista, la cual ve a la mente como un tipo de navaja suiza equipada por evolución con un conjunto de herramientas especializadas (o módulos) para lidiar con problemas que enfrentaron nuestros ancestros paleolíticos. Él y otros psicólogos evolucionistas creen que la mente humana evolucionó por selección natural justo como otras partes del cuerpo. Esta visión, de la cual fueron pioneros E. O. Wilson, Leda Cosmides y John Tooby, está basada en la psicología evolucionista y está creciendo rápidamente como paradigma de investigación, especialmente entre los psicólogos cognitivos. Crítica [editar]
Es autor de algunos de los escritos más vivaces sobre la ciencia moderna, sin embargo, sus críticos alegan que sus libros ignoran o descartan la evidencia en contra. En Palabras y reglas, por ejemplo, él describe como los científicos cognitivos han soltado el modelo competitivo "como papa caliente", después de su extensa crítica. Sin embargo, el conexionismo, permanece más popular que nunca y las disputas no parecen encaminarse a una pronta solución. Otras críticas (véase el enlace externo sobre Edgard Oakes) afirman que Pinker es quizá demasiado buen escritor, siendo capaz de combinar varias hipótesis débilmente sustentadas para que suenen plausibles como psicología evolucionista.
Una crítica filosófica más profunda es que la idea de que en la persona humana la unión de espíritu y materia constituye una única naturaleza, es perfectamente compatible con los cambios en el cerebro que detecta, por ejemplo, la neuroimagen. Pero reducir todo el psiquismo a la actividad neuronal no se debe ya a una explicación científica, sino a una opción filosófica previa, que descarta todo lo que no puede reducirse a estudio experimental. Premios y reconocimientos [editar]
Fue nombrado una de las 100 personas más influyentes del mundo en el 2004 por la revista Time y uno de los 100 intelectuales más destacados por Prostect y Foreign Policy en 2005. También ha recibido doctorados honorarios de las universidades de Newcastle, Surrey, Tel Aviv y McGill. Publicaciones [editar] Libros [editar]
* Language Learnability and Language Development (1984) * Visual Cognition (1985) * Connections and Symbols (1988) * Learnability and Cognition: The Acquisition of Argument Structure (1989) * Lexical and Conceptual Semantics (1992) * The Language Instinct (1994). Trad. esp. El instinto del lenguaje: cómo crea el lenguaje la mente. Alianza * How the Mind Works (1997). Trad. esp. Cómo funciona la mente. Destino (2001). Reedición en Destino (2007) * Words and Rules: The Ingredients of Language (1999) * The Blank Slate: The Modern Denial of Human Nature (2002). Trad. esp. La tabla rasa. La negación moderna de la naturaleza humana. Paidós Ibérica (2003) * The Best American Science and Nature Writing (editor and introduction author, 2004) * Hotheads (2005) * The Stuff of Thought: Language as a window into human nature (2007). Trad. esp. "El mundo de las pa
Volvemos de la rueda de prensa del Rethink the basis of communication 2009 con un nuevo concepto muy simpático. Kiki (o ki-ki o ki-kai) - traducción en japones de la crisis.
Blogueando por la red, hemos encontrado una explicación. Que la cultura japonesa es muy sabia, todos lo sabemos, pero no todo el mundo conoce la actitud con la que se enfrentan a los problemas, y esta es digna de admiración. Para que os quede más claro os ponemos un ejemplo:
La palabra crisis en japonés se compone de dos idiogramas que significan peligro y oportunidad, esto da bastante que pensar. En nuesta cultura la palabra crisis tiene connotaciones muy negativas y últimamente no se oye otra cosa en los medios de comunicación, desde los políticos y entre la gente de la calle.
Quizás este post sirva a alguno para reflexionar y darse cuenta de que no todo es tan negro como nos lo pintan. Está claro que nos encontramos en una situación algo complicada pero ante esta tenemos dos caminos: o nos atemorizamos y deprimimos al verla de manera pesimista sólo como una señal de peligro fatal, o nos decidimos con optimismo y coraje a sacar el máximo provecho de las oportunidades que tal circunstancia encierra. Lo que si esta cierto, es que entramos con alegría en la epoca ki-ki!
[…] palabras me han hecho recordar el significado de crisis en japonés. Se escribe con dos ideogramas: peligro + oportunidad. El peligro ya lo tenemos aquí (paro, recesión, …), sólo tenemos que buscar la […]
[…] más de lo que ocurre en E-paña (como diría Angeloso), como buenos “novatos” en esto de las crisis mundiales, vamos a tener que ponernos las pilas y aprendiendo un poco no¿? alguna […]
Esa frase aparece como síntoma de recuperación de la actual crisis, según este profalumno de economía... La hemos marcado en rojo, casi al final de la entrevista
Santiago Niño Becerra: "En 2010 empezará la crisis de verdad y será brutal, terrible"
El catedrático de Estructura Económica de la Ramon Llull augura que la recesión durará diez años
David Ruiz | Barcelona | 03/10/2008 | Actualizada a las 02:28h | Economía
Santiago Niño Becerra, nacido en Barcelona hace 57 años, es un hombre que habla claro. Catedrático de Estructura Económica, es profesor en la Facultad de Economía IQS de la Universitat Ramon Llull. Considera que la situación económica mundial va a ir "tendencialmente a peor" en los próximos tres años y que todas las medidas que se están aplicando no van a servir porque responden a un viejo manual que ha quedado obsoleto.
-¿Estamos ya en crisis? -No, que va. Yo diría que estamos en "precrisis". La crisis empezará a mediados de 2010. Pero es que, además, lo que viene ahora y lo que vendrá no se parece en nada a lo que vivimos en 1993 o en el 2000. Esto es otra película, es una crisis sistémica. De parecerse a alguna cosa, se parecería al "crack del 29".
-¿Por qué es una crisis sistémica? -Porque la manera como está funcionando el sistema se tiene que cambiar. En 1993 hubo un problema, se inyectó dinero en forma de crédito y se acabó. En 2000, lo mismo. Ahora no. Aplicamos un manual viejo que ya no funciona. Se han agotado las herramientas que se pusieron en marcha como el hiperconsumismo, el hipercrédito o la hiperdeuda y pasamos a otra película…
-¿Cuándo empezó esta "precrisis"? -En septiembre de 2007 cuando se manifestó el problema de las subprime.
-¿Y hasta cuándo durará? -Se alargará hasta junio o julio del año 2010. La tendencia dentro de este periodo será a peor. Esto no significa que un día la bolsa suba o que otro baje. En 2010 empezará la crisis económica de verdad. Caída "a plomo" hasta mediados de 2012. Habrá un hundimiento a nivel económico, y será a nivel mundial.
-¿Qué pasará a partir de 2010? -Durante el periodo 2010-2012 el nivel de la caída será brutal, terrible. Habrá economías que sufrirán muchísimo, por ejemplo la española, la alemana, la estadounidense o la china. Habrá un periodo de estancamiento hasta 2015 y, a partir de ahí, comenzará un periodo de recuperación muy lento hasta 2018-2020. Estamos hablando de una duración de 10 años, similar a la "Gran Depresión" norteamericana de la década de 1930.
-¿El capitalismo ha llegado a su fin? -El colapso del sistema capitalista aún no se ha producido. Los sistemas tienen una vida de 250 años. El capitalismo empezó entre 1815 y 1820 y terminará más o menos en 2070. Lo que ahora vivimos es una crisis de ajuste, como ocurrió en 1929. Las características del capitalismo no cambiarán pero el ajuste que se hará será muy importante.
-¿Cuáles son las posibilidades que tenemos para capear el temporal? -Nada. Esto ha de pasar. Es inevitable.
-¿Pero los ciudadanos no tienen ninguna opción para intentar salir menos afectados? -Yo siempre recomiendo que si alguien tiene deudas, que no se endeude más. Quien no tenga, que no se endeude y si una persona tiene deudas y dinero ahorrado, que lo dedique a reducir deuda. Otra cosa es que, antes de comprar nada, la gente se pregunte si realmente lo necesita. Que calculen muy bien cuales son las expectativas de sus ingresos y adapten el gasto. Lo que no sea necesario, no es importante.
-¿Habrá muchas empresas que puedan aguantar esta situación? -No, habrá cierres en cascada. La evolución será cada vez a peor y, a partir de 2010, se acelerará.
-¿La culpa es de los bancos y las inmobiliarias? -La culpa no es de una persona o de un grupo de personas. Las medidas que se han tomado han llevado al desastre. Pero si estas medidas no se hubieran tomado, no se hubiera crecido como se ha crecido. Y todos hemos estado muy contentos de crecer así.
-¿Habrá bancos que quebrarán? -Sí, pero aunque un banco haga fallida no pasa nada. El problema es que, dentro de un escenario como el actual, que un banco caiga supone un torpedo a la confianza. El sistema que hemos montado no está atado con cables de titanio, está unido con algo tan intangible como es la confianza que, cuando se rompe, ya no se puede reparar.
-¿Es una buena decisión que los Gobiernos usen dinero público para salvar a las empresas? -No servirá de nada. Se tiene que hacer porque el modelo dice que es lo que debe hacerse. Esto sirve para tapar un agujero, pero se abrirá otro. Estamos hablando de cifras tan brutales que es imposible tener dinero suficiente para tapar todos los agujeros.
-¿Cómo sabremos que estamos saliendo de la crisis? -La recuperación se percibirá en el ambiente. El primer síntoma de la recuperación vendrá hacia 2012 porque no iremos a peor. El segundo signo será que algunas personas empezarán a hacer cosas.
-¿El resultado de esta crisis será la aparición de una nueva potencia económica? -Yo opino que la figura del Estado irá a menos y que las grandes corporaciones tendrán más fuerza. Creo que General Electric es la primera corporación del futuro, es un caso a estudiar. En el futuro habrá más eficiencia, orden, aprovechamiento,…
-¿Grandes corporaciones como las de la película "Rollerball", que planteaba un futuro en el que las multinacionales controlaban el mundo? -Sí, eso mismo.
Einstein dijo: " La mayor parte de las deas fundamentales de la ciencia son esencialmente simples y , por lo general, pueden ser expresadas en un lenguaje comprensible para todas las personas. La decoherencia; que una partícula pueda estar en dos lugares al mismo tiempo; es un concepto clave en la física cuántica que los científicos no pueden explicar en términos inteligibles al resto del público. Es una incoherencia que ni los científicos entienden, por eso,no pueden explicarlo.
" Un átomo de hidrógeno de una célula de la punta de mi nariz estuvo una vez en la trompa de un elefante. JOSTEIN GAARDER.
Harían falta 10 millones de átomos colocados uno junto al otro para abarcar el ancho de un simple punto de esta página; el 99,999999 por ciento de cada átomo es espacio vacío. Demócrito en el año 440 a.c sugiere por primera vez que todo está hecho de átomos. Cogío una roca y se pregunto: ¿ si corto esto por la mitad y luego por la mitad de nuevo, puedo seguir cortándolo por la mitad indefinidamente?. Su respuesta fue un no categórico. Antes o después se alcanzaría un minúsculo grano de materia que no se podría dividir más. Como en griego "indivisible" era "átomo",Demócrito llamo a las hipotéticas partículas elementales átomos. Los átomos son tan pequenos que los trillones que hay en una simple respiración se extendieran de forma uniforme por toda la atmósfera de la tierra, cada volumen del tamaño de una respiración acabaría conteniendo varios de estos átomos.Por decirlo de otra forma, con cada inhalación tomamos aire que contiene, por lo menos, un átomo exhalado por Albert Einsten- o por Julio Cesar, Marilyn Monroe o incluso el último Tiranosaurus Rex que anduvo sobre la faz de la tierra
Reencuentro entre tres, diría yo, porque al viaje (gracias a CHAR y a ASPA), del 92 al sur de esa frontera (guatemala), se unía una espantá, ante los recelos fehacientes provocados por la simbiodiversidad en la costa norte del mar de alborán. Espantá que tenía su puñetera gracia, y aquí viene la tercera:
Después de años de danzar para los elementos,
a ritmos y pasos mayas y mexikas,
si no es por esa "patada" o invitación "forzada",
en diciembre de 05,
quizás aún tendría pendiente,
este sagrado reencuentro,
si la sensosfera es sabia,
es porque saborea,
toda la danza que GAYA,
realiza a tu alrededor,
contigo dentro,
qué duda cabe,
de qué vale ponerse en contra de los elementos,
sobre todo cuando,
los tenemos tan a favor,
que sería de idiotas,
estoes, de quienes etiquetan a otrxs de idiotas,
toma ya buclazo de morin,
que sería de idiotas no dejarse llevar,
de una futa dez,
por este tobogaaaam,
que nos devuelve al paraíso again,
"un día habrá tantos locos,
que los cuerdos,
serán considerados locos"
gracias al gachó o gachí,
que pinto esta obra de arte,
frente a esa "peseta" gigante,
que ya parecía decir:
pero shikillos,
no veis,
que os seguimos tomando el pelo,
como si aqui no hubiera pasao nada?
(mirar portada de,
"sin cognos no hay paradise"),
por cierto disponible,
en la tan femenina reprografía,
(y lo que no es reprografía),
de pichicología...
esosí,
a tres leuritos,
ni mas nimenos,
la cosa es que aquesta canción del principio,
en la madrugada amanecer londinense,
tras saciarme de taxis bicis,
que llenan el centro de los london,
como ya mismito el centro y toda,
malaga la veya,
y aquella jefa de burguer,
que me amenezaba (y se amenazaba),
junto al tamesis y el parliament,
con que si le dejaba propina,
a ella la echaban,
y es que habían echado a correr,
detrás mía,
ella, blanca y rubia,
las demás, currantas,
divina inmigración sonriente,
las que calculo un par de horas,
o quien sabe, da igual cuanto,
que eché en el susodisho burguer,
desayunando y bailando,
con esa dibina musia,
tambien fruto,
de los más,
jugoooooooosos...
de esta globalización,
ciegos seríamos si,
no
miráramos,
a nuestro arreor,
y viésemos no solo lo chungo de
la
globa
lización,
si
no
tambien,
lo que nuestros sentidos nos muestran ,
estoes,
con tantísima
clarividencia,
estoes,
el vidente,
es quien ve lo evidente,
el seudo-espelto,
es quien no ve
ni un diente,
el apocalipsis
del
es
ta
do
mercenario
ya estuvo,
hablamos de un pasado,
cuya recientitud,
depende,
de lo mucho
que penda,
en bos,
o en los bosses,
clarividentemente
que penda en bosé,
las huellas de aquel
renombrado sistema
que se fijó en el reloj,
en vez del sol y la luna,
esosí,
parece que había conseguido mucho,
que millones de personas
(en una parte de este ancho mundo)
se dejaran abducir por
ese invento monacal medieval,
cuando jugaron el juego de rol,
de la medida mecánica del tiempo,
de acabar, o tratar de acabar,
con la sincronicidad,
inherente a los sistemas vivos,
que no viven en cuevas,
la cuva de platon,
que tambien retrataron,
en radio tres,
era una realidad,
así, con erre mayuscula,
olvidando que el atractor básico de la vida,
es la Creacción, o acción creatva,
que a diferencia de como,
nos la quiere o quería vender,
la industria cultural,
en la que el discurso es tan competitivo ,
a su estilo,
(porque competir en el arte,
es tan pornográfico,
como competir en cualquier campo,
y te lo recuerdo, carmen,
lo mism en la uni de arte...
coopetir, en todo caso,
en que simbiosis o apoyo mutuoy competecia
se unen como el ying yang,,
somos sers vos,
en los que la teoria y la ractica,
muestra que
el apoyomutuo es quien alimenta la competición,
y no al revés,
el ndividualismo de estos estads tan monos,
te "regalaba" el apoyo mutuo,
después de habertelo ganado a pulso,
enmedio de un chaparrón educativo continuo,
de discurso competitivo,
vamos pura seleccion que dicen natural,
cuando darwin lo que hizo,
(psicoanalisis darwiniano)
es dejarse llevar,
por el espiritu competitivo,
que trataba de imponerse y de seguir imponiendo,
con la revolucion imperial industrial,
eso,
el imperio britanico,
en la india recuerdan?
gandhi, que había aprendido,
tambien,
del creador de la palabra ecology (en inglés)
un ecologista social,
con su lbro de la no vielencia,
henry david thoreau,
mientras koprotkin,
escribiendo bajo el angulo complementario,
de la ayuda, apoyo, o achocho mutuas...,
y mientras en inglaterra,
y en su antípoda,
no olviden esta sincronicidad,
tan negada, como pasada por alto,
total, porque el chiko,
era de una colonia...
mientras estaba,
mira por donde,
la teoría más teoría,
y supuestamente la guía
fundamental,
no solo para las ciencias biológicas,
sino para una especie (y una cultura),
llamada humana que viene de humus...
¿Haría que empezar a contabilizar como muertes humanas,
estoes asesinatos en masa,
al asesinato de los suelos con su rico y diverso
humus...?,
tanto por el asfalto y hormigon,
como para hacer inutiles presas,
como por la agricultura asesina, esa llamada quimica,
que no es rentable,
ni por asomo,
luego tampoco es sostenible,
no es nada rentable,
pero se la apoya, o subvenciona,
desde el norte,
esnortao,
por esa abduccion,
que en el diecinueve,
empezo a llamarse,
y por tanto a justificarse,
como seleccion natural,
darwinismo y socialdarwinismo son lo mismo,
y ni que decir tiene que contra este chabalito en si, darwin, o y wallace,
Pienso con intensidad y confianza en un giro de conciencia. En un ordenamiento más óptimo e integrado del mundo que vemos y sentimos todos y cada uno de nosotros y los demás organismos . La convivencia tolerante y cooperativa entre la energía psíquica de la memoria y el yo es lo más deseable para cualquier persona. La cantidad y la cualidad del conocimiento que tengamos sobre la energía psíquica (memoria, atención, percepción, imaginación, emociones, lenguaje, relojes celulares, ritmo cardíaco, respiración) es una meta grandiosa y plena para todos por la que preferimos dejar el reparo y nuestras autolimitaciones a un lado y compartir amablemente nuestras vivencias y experiencias en espacios con tanta ciencia y magia presentes como la que hay en este entorno virtual. A más conciencia de tí,mediante el conocimiento natural lingüístico que te te das, más libertad vas alcanzando para no sufrir tanto, con recuerdos o cosas así. Cuanto más construyes tu realidad más intervienes en el control conciente de los procesos mentales que te acompañan noche y día. La sensación de bienestar de una mente liberada es pura potencialidad para el campo en crecimiento y maduración de la conciencia de la energía psíquica. Actualmente en los planes de estudio el aprendzaje memorístico es relebado segundo plano; el razonamiento presumiblemente más generalizado en la sociedad parece ser que ha sido: ¿ para qué memorizar tanta información si tenemos fantásticas máquinas que ya lo hacen por nosotros?, muy bien ¿ y ahora qué hacemos con la memoria y con su energía , aquí no vale muerto
La física cuántica confirma que creamos nuestra realidad
La física moderna dice “tú si puedes”
Durante décadas, los poderes de la mente han sido cuestiones asociadas al mundo “esotérico”, cosas de locos. La mayor parte de la gente desconoce que la mecánica cuántica, es decir, el modelo teórico y práctico dominante hoy día en el ámbito de la ciencia, ha demostrado la interrelación entre el pensamiento y la realidad. Que cuando creemos que podemos, en realidad, podemos. Sorprendentes experimentos en los laboratorios más adelantados del mundo corroboran esta creencia.
El estudio sobre el cerebro ha avanzado mucho en las últimas décadas mediante las “tomografías”. Conectando electrodos a este órgano, se determina donde se produce cada una de las actividades de la mente. La fórmula es bien sencilla: se mide la actividad eléctrica mientras se produce una actividad mental, ya sea racional, como emocional, espiritual o sentimental y así se sabe a qué área corresponde esa facultad.
Estos experimentos en neurología han comprobado algo aparentemente descabellado: cuando vemos un determinado objeto aparece actividad en ciertas partes de nuestro cerebro… pero cuando se exhorta al sujeto a que cierre los ojos y lo imagine, la actividad cerebral es ¡idéntica! Entonces, si el cerebro refleja la misma actividad cuando “ve” que cuando “siente”, llega la gran pregunta: ¿cuál es la Realidad? “La solución es que el cerebro no hace diferencias entre lo que ve y lo que imagina porque las mismas redes neuronales están implicadas; para el cerebro, es tan real lo que ve como lo que siente”, afirma el bioquímico y doctor en medicina quiropráctica, Joe Dispenza en el libro “¿y tú qué sabes?”. En otras palabras, que fabricamos nuestra realidad desde la forma en que procesamos nuestras experiencias, es decir, mediante nuestras emociones.
La farmacia del cerebro
En un pequeño órgano llamado hipotálamo se fabrican las respuestas emocionales. Allí, en nuestro cerebro, se encuentra la mayor farmacia que existe, donde se crean unas partículas llamadas “péptidos”, pequeñas secuencias de aminoácidos que, combinadas, crean las neurohormonas o neuropéptidos. Ellas son las responsables de las emociones que sentimos diariamente. Según John Hagelin, profesor de física y director del Instituto para la ciencia, la tecnología y la política pública de la Universidad Maharishi, dedicado al desarrollo de teorías del campo unificado cuántico: “hay química para la rabia, para la felicidad, para el sufrimiento, la envidia…”
En el momento en que sentimos una determinada emoción, el hipotálamo descarga esos péptidos, liberándolos a través de la glándula pituitaria hasta la sangre, que conectará con las células que tienen esos receptores en el exterior. El cerebro actúa como una tormenta que descarga los pensamientos a través de la fisura sináptica. Nadie ha visto nunca un pensamiento, ni siquiera en los más avanzados laboratorios, pero lo que sí se ve es la tormenta eléctrica que provoca cada mentalismo, conectando las neuronas a través de las “fisuras sinápticas”.
Cada célula tiene miles de receptores rodeando su superficie, como abriéndose a esas experiencias emocionales. Candance Pert, poseedora de patentes sobre péptidos modificados y profesora en la universidad de medicina de Georgetown, lo explica así: “Cada célula es un pequeño hogar de conciencia. Una entrada de un neuropéptido en una célula equivale a una descarga de bioquímicos que pueden llegar a modificar el núcleo de la célula”.
Nuestro cerebro crea estos neuropéptidos y nuestras células son las que se acostumbran a “recibir” cada una de las emociones: ira, angustia, alegría, envidia, generosidad, pesimismo, optimismo… Al acostumbrarse a ellas, se crean hábitos de pensamiento. A través de los millones de terminaciones sinápticas, nuestro cerebro está continuamente recreándose; un pensamiento o emoción crea una nueva conexión, que se refuerza cuando pensamos o sentimos “algo” en repetidas ocasiones. Así es como una persona asocia una determinada situación con una emoción: una mala experiencia en un ascensor, como quedarse encerrado, puede hacer que el objeto “ascensor” se asocie al temor a quedarse encerrado. Si no se interrumpe esa asociación, nuestro cerebro podría relacionar ese pensamiento-objeto con esa emoción y reforzar esa conexión, conocida en el ámbito de la psicología como “fobia” o “miedo”.
Todos los hábitos y adicciones operan con la misma mecánica. Un miedo (a no dormir, a hablar en público, a enamorarse) puede hacer que recurramos a una pastilla, una droga o un tipo de pensamiento nocivo. El objetivo inconsciente es “engañar” a nuestras células con otra emoción diferente, generalmente, algo que nos excite, “distrayéndonos” del miedo. De esta manera, cada vez que volvamos a esa situación, el miedo nos conectará, inevitablemente, con la “solución”, es decir, con la adicción. Detrás de cada adicción (drogas, personas, bebida, juego, sexo, televisión) hay pues un miedo insertado en la memoria celular.
La buena noticia es que, en cuanto rompemos ese círculo vicioso, en cuanto quebramos esa conexión, el cerebro crea otro puente entre neuronas que es el “pasaje a la liberación”. Porque, como ha demostrado el Instituto Tecnológico de Massachussets en sus investigaciones con lamas budistas en estado de meditación, nuestro cerebro está permanentemente rehaciéndose, incluso, en la ancianidad. Por ello, se puede desaprender y reaprender nuevas formas de vivir las emociones.
Mente creadora
Los experimentos en el campo de las partículas elementales han llevado a los científicos a reconocer que la mente es capaz de crear. En palabras de Amit Goswani, profesor de física en la universidad de Oregón, el comportamiento de las micropartículas cambia dependiendo de lo que hace el observador: “cuando el observador mira, se comporta como una onda, cuando no lo hace, como una partícula”. Ello quiere decir que las expectativas del observador influyen en la Realidad de los laboratorios… y cada uno de nosotros está compuestos de millones de átomos.
Traducido al ámbito de la vida diaria, esto nos llevaría a que nuestra Realidad es, hasta cierto punto, producto de nuestras propias expectativas. Si una partícula (la mínima parte de materia que nos compone) puede comportarse como materia o como onda… Nosotros podemos hacer lo mismo.
La realidad molecular
Los sorprendentes experimentos del científico japonés Masaru Emoto con las moléculas de agua han abierto una increíble puerta a la posibilidad de que nuestra mente sea capaz de crear la Realidad. “Armado” de un potente microscopio electrónico con una diminuta cámara, Emoto fotografió las moléculas procedentes de aguas contaminadas y de manantial. Las metió en una cámara frigorífica para que se helaran y así, consiguió fotografiarlas. Lo que encontró fue que las aguas puras creaban cristales de una belleza inconmensurable, mientras que las sucias, sólo provocaban caos. Más tarde, procedió a colocar palabras como “Amor” o “Te odio”, encontrando un efecto similar: el amor provocaba formas moleculares bellas mientras que el odio, generaba caos.
Por último, probó a colocar música relajante, música folk y música thrash metal, con el resultado del caos que se pudieron ver en las fotografías.
La explicación biológica a este fenómeno es que los átomos que componen las moléculas (en este caso, los dos pequeños de Hidrógeno y uno grande de Oxígeno) se pueden ordenar de diferentes maneras: armoniosa o caóticamente. Si tenemos en cuenta que el 80% de nuestro cuerpo es agua, entenderemos cómo nuestras emociones, nuestras palabras y hasta la música que escuchamos, influyen en que nuestra realidad sea más o menos armoniosa. Nuestra estructura interna está reaccionando a todos los estímulos exteriores, reorganizando los átomos de las moléculas.
El valioso vacío atómico
Aunque ya los filósofos griegos especularon con su existencia, el átomo es una realidad científica desde principios de siglo XX. La física atómica dio paso a la teoría de la relatividad y de ahí, a la física cuántica. En las escuelas de todo el mundo se enseña hoy día que el átomo está compuesto de partículas de signo positivo (protones) y neutras (neutrones) en su núcleo y de signo negativo (electrones) girando a su alrededor. Su organización recuerda extraordinariamente a la del Universo, unos electrones (planetas) girando alrededor de un sol o núcleo (protones y neutrones). Lo que la mayoría desconocíamos es que la materia de la que se componen los átomos es prácticamente inexistente. En palabras de William Tyler, profesor emérito de ingeniería y ciencia de la materia en la universidad de Stanford, “la materia no es estática y predecible. Dentro de los átomos y moléculas, las partículas ocupan un lugar insignificante: el resto es vacío”.
En otras palabras, que el átomo no es una realidad terminada sino mucho más maleable de lo que pensábamos. El físico Amit Goswani es rotundo: “Heinsenberg, el codescubridor de la mecánica cuántica, fue muy claro al respecto; los átomos no son cosas, son TENDENCIAS. Así que, en lugar de pensar en átomos como cosas, tienes que pensar en posibilidades, posibilidades de la consciencia. La física cuántica solo calcula posibilidades, así que la pregunta viene rápidamente a nuestras mentes, ¿quién elige de entre esas posibilidades para que se produzca mi experiencia actual? La respuesta de la física cuántica es rotunda: La conciencia está envuelta, el observador no puede ser ignorado”.
¿Qué realidad prefieres?
El ya famoso experimento con la molécula de fullerano del doctor Anton Zeillinger, en la Universidad de Viena, testificó que los átomos de la molécula de fullerano (estructura atómica que tiene 60 átomos de cárbón) eran capaces de pasar por dos agujeros simultáneamente. Este experimento “de ciencia ficción” se realiza hoy día con normalidad en laboratorios de todo el mundo con partículas que han llegado a ser fotografiadas. La realidad de la bilocación, es decir, que “algo” pueda estar en dos lugares al mismo tiempo, es algo ya de dominio público, al menos en el ámbito de la ciencia más innovadora. Jeffrey Satinover, ex presidente de la fundación Jung de la universidad de Harvard y autor de libros como “El cerebro cuántico” y “El ser vacío”, lo explica así: “ahora mismo, puedes ver en numerosos laboratorios de Estados Unidos, objetos suficientemente grandes para el ojo humano, que están en dos lugares al mismo tiempo, e incluso se les puede sacar fotografías. Yo creo que mucha gente pensará que los científicos nos hemos vuelto locos, pero la realidad es así, y es algo que todavía no podemos explicar”.
Quizás porque algunos piensen que la gente “de a pie” no va a comprender estos experimentos, los científicos todavía no han conseguido alertar a la población de las magníficas implicaciones que eso conlleva para nuestras vidas, aunque las teorías anejas sí forman parte ya del dominio de la ciencia divulgativa.
Seguramente la teoría de los universos paralelos, origen de la de la “superposición cuántica”, es la que ha conseguido llegar mejor al gran público. Lo que viene a decir es que la Realidad es un número “n” de ondas que conviven en el espacio-tiempo como posibilidades, hasta que UNA se convierte en Real: eso será lo que vivimos. Somos nosotros quienes nos ocupamos, con nuestras elecciones y, sobre todo, con nuestros pensamientos (“yo sí puedo”, “yo no puedo”) de encerrarnos en una realidad limitada y negativa o en la consecución de aquellas cosas que soñamos. En otras palabras, la física moderna nos dice que podemos alcanzar todo aquello que ansiamos (dentro de ese abanico de posibilidades-ondas, claro).
En realidad, los descubrimientos de la física cuántica vienen siendo experimentados por seres humanos desde hace milenios, concretamente, en el ámbito de la espiritualidad. Según el investigador de los manuscritos del Mar Muerto, Greg Braden, los antiguos esenios (la comunidad espiritual a la que, dicen, perteneció Jesucristo) tenían una manera de orar muy diferente a la actual. En su libro “El efecto Isaías: descodificando la perdida ciencia de al oración y la plegaria”, Braden asegura que su manera de rezar era muy diferente a la que los cristianos adoptarían. En lugar de pedir a Dios “algo”, los esenios visualizaban que aquello que pedían ya se había cumplido, una técnica calcada de la que hoy se utiliza en el deporte de alta competición, sin ir más lejos. Seguramente, muchos han visto en los campeonatos de atletismo cómo los saltadores de altura o pértiga realizan ejercicios de simulación del salto: interiormente se visualizan a sí mismos, ni más ni menos que realizando la proeza. Esta técnica procede del ámbito de la psicología deportiva, que ha desarrollado técnicas a su vez recogidas del acervo de las filosofías orientales. La moderna Programación Neurolingüística, usada en el ámbito de la publicidad, las relaciones públicas y de la empresa en general, coincide en recurrir al tiempo presente y a la afirmación como vehículo para la consecución de los logros. La palabra sería un paso más adelante en la creación de la Realidad, por lo que tenemos que tener cuidado con aquello que decimos pues, de alguna manera, estamos atrayendo esa realidad.
La búsqueda científica del alma
En las últimas décadas, los experimentos en el campo de la neurología han ido encaminados a encontrar donde reside la conciencia. Fred Alan Wolf, doctor en física por la universidad UCLA, filósofo, conferenciante y escritor lo explica así en “¿Y tú qué sabes?” de la que se espera la segunda parte en pocos meses: “Los científicos hemos tratado de encontrar al observador, de encontrar la respuesta a quién está al mando del cerebro: sí, hemos ido a cada uno de los escondrijos del cerebro a encontrar el observador y no lo hemos hallado; no hemos encontrado a nadie dentro del cerebro, nadie en las regiones corticales del cerebro pero todos tenemos esa sensacion de ser el observador”. En palabras de este científico, las puertas para la existencia del alma están abiertas de par en par: “Sabemos lo que el observador hace pero no sabemos quién o qué cosa es el observador”.
Hoy recuperadas por la física cuántica, muchas de estas afirmaciones eran conocidas en la Antigüedad, como en el caso del “Catecismo de la química superior”, de Karl von Eckartshausen.
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Cuadro 1 Nuestro cerebro: un ordenador que procesa información
A cada segundo, en una vida como la moderna llena de estímulos: nos bombardean enormes cantidades de información. El cerebro solo procesa una mínima cantidad de ella: 400 mil millones de bits de información por segundo. Los estudios científicos han demostrado que sólo somos conscientes de 2.000 mil de esos bits, referidos al medio ambiente, el tiempo y nuestro cuerpo. Así pues, lo que consideramos la Realidad, es decir, aquello que vivimos, es sólo una mínima parte de lo que en realidad está ocurriendo. ¿Cómo se filtra toda esa información?
A través de nuestras creencias: El modelo de lo que creemos acerca del mundo, se construye desde lo que sentimos en nuestro interior y de nuestras ideas. Cada información que recibimos del exterior se procesa desde las experiencias que hemos tenido y nuestra respuesta emocional procede de estas memorias. Por eso, los malos recuerdos nos impulsan a caer en los mismos errores.
Cuadro 2: Cómo romper con esos malos hábitos del pensamiento
El cerebro crea esas redes a partir de la memoria: ideas, sentimientos, emociones. Cada asociación de ideas o hechos, incuba un pensamiento o recuerdo en forma de conexión neuronal, que desemboca en recuerdos por medio de la memoria asociativa. A una sensación o emoción similar, reaparecerá ese recuerdo en forma de idea o pensamiento. Hay gente que conecta “amor” con “decepción” o “engaño”, así que cuando vaya a sentir amor, la red neuronal conectará con la emoción correspondiente a cómo se sintió la última vez que lo sintió: ira, dolor, rabia, etc. Según Joe Dispenza “si practicamos una determinada respuesta emocional, esa conexión sináptica se refuerza y se refuerza. Cuando aprendemos a “observar” nuestras reacciones y no actuamos de manera automática, ese modelo se rompe”. Así pues, aprender a “ver” esas asociaciones es la mejor manera de evitar que se repitan: la llave es la consciencia.
Cuadro 3: La mecánica de la erección
La mejor metáfora del pensamiento creador es el miembro masculino. Una sola fantasía sexual, es decir, un pensamiento erótico, es capaz de producir una erección, con toda la variedad de glándulas endocrinas y hormonas que participan en ello. Nada hay fuera de la mente del hombre pero, sin embargo, se produce un torbellino hormonal que desemboca en un hecho físico palpable. En el lado femenino, también el poder del pensamiento asociado al erotismo se convierte a menudo en hechos físicos, demostrando la capacidad del pensamiento para crear situaciones placenteras… o adictivas. Los más firmes defensores del poder de la visualización llegan a proponer que se puede obtener a través de ella casi todo lo que deseamos.
El dios de la montaña se pierde en el mar, como me pierdo contigo primo por donde tu vas. Oye mira, vuelve, que te has perdio, ke es que yo me pierdo contigo, no estoy picao. Y empieza un cuento que narran los músicos;, ¿qué cómo lo hacen?, por elocación, y eso qué es?, los murciélagos( no confundir con murcianos o marcianos) lo hacen, lanzan ondas de sonallll q rebotan en el ecosistema, les rebotan y ya no les hace falta ver, oir ni escuchar. Los músicos hacen algo parecido,los sonidos son vibraciones que emocionan. Las emociones vuelcan hacia fuera, ese es su sentido etimológico. La ecolocación en el humano es diferente a la ecolocación en el murciélago; al menos cuando hacemos música, O MEJOR expresados, son grados distintos de sensibilidad ante el conjunto infimoniko de sensaciones que llegan de la sensoesfera( intervalos , en el lenguaje especializado del fenómeno musical). La musica es el arte de combinar ondas. Las ondas son vibraciones. Un estanque de agua, tiro una piedra que crea una onda en el agua; la nota , por ejemplo, LA440 Herzios ( muy andaluz el tecnicismo físico) tiramos 440 pedrazos al agua y de la geometria que las ondas trazen en el pantano emergera el sonido que se coñoce por La440. SI tiramos 55o piedras es fa, y si son 427 es un SOL. Nuestras neuronas espejos imitan los movimientos del pantano -( bosson de higgs, cern, física de partículas)- El espacio-tiempo está lleno, el vacío es denso a rabiar. La fluicidad de shishohsihsosn ( el padre de la psicología positiva, es que es muy largo el nombre, estoy flipando con un libro suyo flow (fluicidad, una biblia, se los aconsejo), tened en cuenta que no es pa tanto que no hay qye ser tan friky ni tan capullo de aparentar saber tanto; es como si en medio de una argumentación alguien empieza a vacilar de su supuesto( lo de puesto pq es transensual) enorme pene ¡¡¡ , pues lo mismo se hace en las clases magistrales, o cuando alguien ze jace el enterao jactándose con su memorión, mimorión,gorrión,), hay que ir a los conceptos básicos, fundamentalistos, los que trazan ideas que nos llevan a Gaia, es decir, a la experiencia óptima que la onda nos trae de vuelta. La vida es una partida de pin pon, señores, ecolocación. Evolución psicodélica, el pensamiento es la piedra; nuestro cuerpo en simbiosis, interconectividad con el medio es el pantano; el jueo de ondas es la conciencia, y quien las observa, y tira las piedras es la supraconciencia. Es muy interesante desarroyar esplicaciones enrolladas porque te hacen pensar, que es lo importante
2) HACE UNA BUENA SÍNTESIS DE LAS DISCIPLINAS ENCARTADAS: evolutionary theory; human evolution (including early environments, ways of life, and social life) paleoarchaeology (the archaeological and fossil evidence for linguistic and musical capacity and their phylogenetic development); anatomy of the brain and body (the ear and audition, the vocal tract and vocalization; the location of musical abilities in the brain); neurobiology of musical cognition and emotion (how listening and vocal production develop and are computed; evidence of mental modules for components of music as evinced in musical savants or in persons with deficits caused by brain injury; how we recognize music, what we recognize, and how it makes us feel; brain chemistry and neuroanatomy of music and musical states); origin and evolution of language (the similarities and differences between music and language; gestural vs. oral theories of origin; semantics, syntax, prosody); music-like communication systems in other animals (including whales, birds, and especially non-human primates) and arguments pro and con their relevance to human communication; developmental psychology of musical and linguistic behavior in infants and young children; ethnomusicology (the range of musical behavior in a variety of human societies with differing ways of life; how music is conceptualized and used in non-Western groups); the art and practice of music itself. Also relevant are findings from music therapy and psychology of music, including the psychology of musical emotion.
3) PRINCIPALES PLANTEOS: 1)Coevolucion de musica y lenguaje 2) The second is a completely original hypothesis of the existence among Neanderthals of a peculiar proto-music/language that was holistic (not composed of segmented elements), manipulative (influencing emotional states and hence behavior of oneself and others), multimodal (using both sound and movement), musical (temporally controlled, rhythmic, and melodic), and mimetic (utilizing sound symbolism and gesture)—what Mithen aptly if cutely terms "the 'Hmmmmm' communication system" (172), "a prelinguistic musical mode of thought and action" (p. 267).
4) LOS PIRAHA SON NEANDERTALES!!!!:::::: In The Prehistory of the Mind (1996) Mithen argued that pre-sapiens hominids like Neanderthals lacked "cognitive fluidity" or metaphorical thought—the ability to hold concurrently in mind information from several different cognitive domains. Additionally, the absence of symbolic artifacts in their dwelling sites implies absence of symbolic thought and hence of symbolic utterance—i.e., spoken language (p. 228).
5) PARECE ESTAR HABLANDO DE LOS PIRAHA (que no creo se atreva a nombrar): Yet the challenging lives of Neanderthals—with their physically difficult environment, large body size, and large but dependent infants—required complex emotional communication and intergroup cooperation. They developed a "music-like communication system that was more complex and more sophisticated than that found in any of the previous species of Homo" (p. 234), one that included iconic gestures, dance, onomatopoeia, vocal imitation and sound synaesthesia.
6) LA MUSICA ES COMUNAL, and may even incorporate natural sounds::: Mithen's hypothesis accounts for important aspects that are usually excluded in the majority of discussions of music: he appreciates that it typically includes bodily movement (toe-tapping, head-nodding, hand-clapping, and dance) and that "music-making is first and foremost a shared activity, not just in the modern Western world, but throughout human cultures and history" (p. 205). Although he does not describe musical behavior of Mbuti or Ba-Benjellé pygmies in Central Africa or Kaluli villagers in the Southern Highlands of Papua New Guinea, such small-scale societies amply illustrate the ubiquity (and complexity) of communal singing during most daily activity—"woven tapestries" (Meurant 1995) of sound that may even incorporate natural sounds of the forest (Feld 2001).
7) NEURONAS ESPEJOOOOOOOOOOOO: Especially welcome to communication and cognitive studies in general is Mithen's emphasis on the importance of acquiring "emotional intelligence"—the ability to communicate one's feelings with face, voice, and body and to decode the emotional signals of others in increasingly complex social interactions. Mithen proposes that "vocal grooming" (Aiello and Dunbar 1993) would have been initially musical more than verbal (pp. 135-36)..
8) MAS HONESTIDAD QUE EN PALABRAS, FELICIDADDDD: Rather than emphasizing the Machiavellian competitive advantages of comprehending the intentions and desires of others, Mithen points out that the emotional content of musical vocalizations would have been more 'honest' than words—contributing to social commitment and expressing, inducing, and sharing emotion, especially happiness, thereby promoting selectively advantageous cooperative behavior.
9) SINCRONICIDAD, y "MEZCLA DE TONOS" (pitch-blending) GROUP SELECTION Not cited by Mithen is a provocative supportive observation made by Steven Brown (2000b, p. 297) that the two most salient features of music, compared to any other form of vocal communication in nature, are its use of temporal synchronization and pitch-blending. This leads Brown to propose that these cognitive capacities may have evolved specifically for coordination and emotional unification among individuals in a group and thus may be adaptations specifically for group selection.
10) MATE SELECTION BY FEMALES: Mithen appreciates that musical behavior may have had more than one adaptive function—and admits that, at least in Homo ergaster (a common ancestor of both neanderthals and sapiens), "singing and dancing may have provided both indicator and aesthetic traits for females when choosing mates" (p. 187).
11) PUTEA AL PINKER para el que la musica es poco más que estética...
12) PROVOCAR, INFORMAR: The book is a sizable, impressive achievement and I found it thought-provoking and informative on every page.
13) LA MUSICALIDAD DE LAS NANAS: Mithen pays more attention than most other evolutionary thinkers to (and bases much of his hypothesis on) the musical qualities and effects of "baby talk":adult speech directed at prelinguistic infants, with its characteristic undulant "melodic" and dynamically varied vocalizations, exaggerated facial expressions, and rhythmic head and body movements. Although he considers infant-directed speech (IDS) to be evolutionarily important, claiming that it provides evidence that musicality has a developmental if not emotional priority over language, he does not make as much as he could of the implications that inhere in the close behavioral and emotional attunement and exquisite temporal coordination that mother-infant interaction enables (Miall and Dissanayake 2003; Nadel et al. 1999).
14) MÚSICA = (only-)HUMAN CAPACITY FOR TEMPORAL SYNCHRONIZATION TO AN EXTERNAL PULSE (seguro que NO, los gatos bailannn, y habrá que rastrear más, ya que la musica deriva de los sonidos de la naturaleza, es lo que a la ciudad permite llevar esas sincronicidades del campo)
It is not farfetched to propose that the human capacity for temporal synchronization to an external pulse—not known to exist in other mammals or other primates— derived from a capacity that evolved in ancestral mother-infant interactions and then developed further in proto-music, whether in neanderthals or even earlier in H. heidelbergensis.
15) NOH ZA JOÍO ER PROFETA!!! Mithen thinks that modern humans are relatively limited in musical abilities compared to Neanderthals (p. 245).
16) DACUERDO CON LA MOSHASHA: ¡¡WHOLEHEARTLY!! He suggests that the evolution of language has inhibited the musical abilities that modern humans have inherited from the common ancestor that we share with Neanderthals. Yet here I think he inadvertently slips into the Westernized assumptions about music that he decries elsewhere and reveals his own (relatively) weak spot—insufficient acquaintance with the ethnomusicological literature. It is not spoken language itself that overlays or stunts musical ability, but the factors in modernized societies that have made music a specialty—individuality, competitiveness, compartmentalization, and institutionalization— reinforced by the high degree of literate (not oral improvisatory) training required to read (and compose) musical scores as well as literary texts. In small-scale pre-modern societies (and in any large modern sub-Saharan African city, as well in children anywhere who are customarily exposed to frequent communal musical activity), everyone participates in music—regularly, spontaneously, and wholeheartedly—and benefits thereby from the many adaptive advantages Mithen recognizes and so expertly describes.
Empirical Musicology Review Vol. 3, No. 1, 2008 22 Steven Mithen, The Singing Neanderthals: The Origins of Music, Language, Mind, and Body London: Weidenfeld and Nicolson, 2005 (hardcover), 2006 (paperback). ISBN13: 9780297643173 (hardcover) £20.00. ISBN13: 9-780753820513 (paperback) £9.99. Sundry speculative accounts have been written by both amateurs and discipline-specific experts on the origins of music and language. However, in the last thirty years and with advances in science, technology, and in human "intellectual" creativity in general, researchers have sought to broaden the scope and sites of evidence that would better explain the supposedly "common" origins of music and language. Two of these additional sites—mind and body—are indicated and elaborated, in varying degrees, in Steven Mithen's The Singing Neanderthals: The Origins of Music, Language, Mind, and Body (2006). It is important to note in this opening that Singing Neanderthals is a welcome relief from the many haphazard, undocumented and "pre-scientific" suppositions and casual statements of recent years and which address, for example, the influences of music on fetuses, the contributions of music to the acquisition and refinement of skills in mathematics, etc. Debates also continue on existence—and thus traits—of neural, cultural, and biophysical constitutions of the "modules" "hemispheres" of the human brain. In addition, the term "evolution," which recurs almost ad nauseam throughout Singing Neanderthals, evokes a certain nervousness and suspicion—the reasons are many and here are two: First, attempts and some progress have been made in pruning down some of the ethnocentric and paltry scholarship associated with earlier studies (especially in Vergleichende Wissenschaft of the eighteenth, nineteenth, and early twentieth centuries) which focused on origins, evolution, and diffusion of human life, material culture, geophysical phenomena, musical practices, languages, aquatic and botanical lives. However, today's scholars (especially those of postcolonial backgrounds and whose cultures were denigrated in those early accounts) and advanced students continue to demonstrate, in various guises and overt ways, the subtle persistence and perpetuation of the vestiges of Vergleichende Wissenschaft. And second, the contemporary and yet lively claims and counter-claims on Evolution and Creationism "sciences" (especially in regard to American public school systems) are significant developments that reinvigorate, albeit indirectly, vestigial conceptions of "evolution," "primitive" and "tribe." This is not to discredit totally contemporary scholarship which often would, in attempt to be politically correct, adopt "ethnic" in place of "tribe," for example. It is very clear that Mithen transcends many of these vestiges, both pragmatically and meticulously through his reliance on recent evidences, even when these are better supported in specific disciplines such as psychology and prehistory. However, since the book locates and thus confirms the origins of man on the African content, Mithen often is predisposed to naming "Africa" and "African apes." It is clear Africa was a major victim in the early studies and thus no matter how careful we are in our more elegant scholarship, the frequent mention and linking of Africa where the subject of evolution is discoursed would naturally raise some eyebrows. A clear statement of both sensitivity and an awareness of the possibilities of readings of "Africa" and "apes" in this new scholarship would, therefore, have been very appropriate and commendable. (This is not to dispute Mithen's locating of human origins in Africa; even as late as July 11, 2007 the media, worldwide, reports of a new fossil find in Ethiopia, i.e., Africa, the most recent fossil evidence of human origins of almost 5 million years.) What is in this book, what are the major arguments and evidences, what are the author's qualifications and what are the main or new contributions? I do not pretend to answer these questions in detail but will offer a generous sampling of my impressions but which are anchored in the supportive literature. There are seventeen chapters, organized in two parts: "Part One: The Present;" and "Part Two: the Past," which carries the moniker subsection, "Singing Neanderthals." The specific chapter headings, which indicate the scope of the book, include the following selections: 1. The Mystery of Music: The Need for an Evolutionary History of Music 2. More than Cheesecake? The Similarities and Differences Between Music and Language; 4. Language Without Music: Acquired and Congenital Amusia; 5. The Modularity of Music and Language: Music Processing Within the Brain; 6. Talking and Singing to Baby: Brain Maturation, Language Learning and Perfect Pitch; 7. Music, Emotion, Medicine and Intelligence; 9. The Origin of 'Hmmmm' Communication; 10. Getting into Rhythm: The Evolution of Bipedalism and Dance; 12. Singing for Sex: Is Music a Product of Empirical Musicology Review Vol. 3, No. 1, 2008 23 Sexual Selection? 15. Neanderthals in Love: 'Hmmmmm' Communication by Homo Neanderthalensis; 16. The origin of Language: The Origin of Homo Sapiens and the Segmentation of 'Hmmmmm'; and 17. A Mystery Explained, but not Diminished: Modern Human Dispersal, Communicating with the Gods, and the Remnants of 'Hmmmmm'. The author's expertise is in "prehistory;" he explicitly acknowledges in the preface his lack of formal training in music, which would have important implications for his limited musicological sources and their treatment (especially those from "Comparative Musicology," i.e., the pioneering years of what is now known as ethnomusicology). Unfortunately, there is no consistency in which his field of expertise is identified in some sources: for example, he is referred to as "cognitive archaeologist" (http://soundandmind.amsteg.org/?cat=4), or as "professor of early prehistory" (http://books.guardian.co.uk/reviews/scienceandnature/0,,1519096,00.html#article_continue. Accessed July 23, 2007). A book of this grand interdisciplinary scope and about a music-centered subject cannot afford to overlook the ideas, methods, and tools of comparative musicologists such as Carl Stumpf, Erich Hornbostel, Curt Sachs, Marius Schneider, Alexander Ellis, Edith Gerson-Kiwi. There are important reasons why a familiarity with these pioneers in "origins" would significantly embolden and thus raise the explanatory power of this brave, inter- and multidisciplinary project. For example, Carl Stumpf, the first musicologist to publish a full volume work on musical origins, Die Anfänge der Musik (The Origins of Music, 1911) was fully involved in pioneering studies in phenomenology and psychology, two important components of Singing Neanderthals. Phenomenology is, however, the least investigated in Mithen, and a background in this field and in the works of comparative musicologists would have thus allowed him to approach and attain the levels of sophistication and breadth implicated in this multifaceted project. A casual remark such as the following actually suggests an element of frivolity which would undercut the author's expertise on which the work partially rests: "Writing this book has been an attempt to compensate for my musical limitations." (P. vii.) The overall quality and scope of the Singing Neanderthals can be summarized along major strengths and weaknesses. Major weaknesses include extensive reliance on secondary sources; lack of expertise in the related disciplines, especially psychology and music; reliance on psychology and music sources that privilege Western tonal music parameters (there is very little consideration of non-classic music of the West and non-Western musical traditions); frequent, indirect disclaimers: hypothetical, speculative, inconclusive words/phrases such as "may be," "might," "perhaps," and "would have been"; lack of familiarity with recent developments in cognitive ethnomusicology; lack of detailed attention to specific cultural processes, contextual factors and general ethnographic details from varying times and places; lack of primary sources—e.g., insufficient examples from personal investigations, field observations; unclear determinations and uncritical assumptions about the nature of music-language continua; inadequate perspectives on defining "musicality" in relation to the general musical object, including appropriate investigative tools; and theories of music perception under-explored and not clearly identified in relation to music cognition. The book has strengths, as well: extensive supportive secondary literature; balanced critique and originality in reviewing and resolving differing perspectives, paradigms, and methods (such as the Fodor's modularity and some psychological experiments); persuasive arguments and important updates on debates about time, place, conditions and patterns of human evolution; and the identification of basic linkages among important cultural, biological, physical, psychological, communicative and musical traits (e.g., as summed up in the subtitle, "Music, Language, Mind and Body" although these traits are often limited to Music and Language). I take initial issue with this lack of background in comparative musicology as stated above, especially in its broader scope embracing psychology and phenomenology. For example, Carl Stumpf receives a full complement of coverage along with Edmund Husserl, the phenomenology pioneer, in Herbert Spiegelberg's The Phenomenological Movement: A Historical Introduction. 2nd ed. Vol. 1, 1976). Further, both Stumpf and Hornbostel were part of the Gestalt psychology movement, an important research field in which the "mind" (cf. Mithen's subtitle, "…..Mind, and Body") was the main object of inquiry. Similarly, numerous subsequent publications by Curt Sachs (e.g., The Rise of Music in the Ancient World, East and West,1930; The Wellsprings of Music, ed. Jaap Kunst, 1961; and World History of the Dance, 1937), notwithstanding the lack of direct field contacts or observations and their general ethnocentric Empirical Musicology Review Vol. 3, No. 1, 2008 24 framework, these seminal works showed concern for broader sites of evidence, including gesture, even if this is limited to bodily movement and rhythmic motion. Any serious debates, for example, on whether language or music came first must necessarily include at least the idea of "logogenesis" (i.e., "word-born melody"), as expounded in Sachs and Hornbostel. In this way, Mithen's conclusions and speculations on pitch, tempo, language and music and their origins in a "single system" and their later "independence" would thus resonate with much appeal. Mithen would clarify his own hypothesis of origins at the beginning of the book but only after reviewing Steven Pinker (2003) who proposes that language came first and music second: The remaining possibility is that there was a single precursor for both music and language: a communicative system that had the characteristics that are now shared by music and language, but that split into two systems at some date in our evolutionary history. (Mithen 2005, p.26) Yes, these comparativists with significant inter- and multidisciplinary leanings were not privileged with the new and updated tools and ideas we have today, but a detailed explication of their basic assumptions, hypotheses, and methods of inquiry is necessary in establishing the originality of our "revolutionary" ideas and instruments and in preparing for their positive reception, both in the world scientific community and in the public space. The holistic 'Hmmmmm' utterances of Homo ergaster would have been as much musiclike as language-like. We should envisage each holistic utterance as being made from one, or more likely a string, of the vocal gestures that I described in the previous chapter. These would have been expressed in conjunction with hand or arm gestures and perhaps, body language as a whole, as I will describe below. In addition, particular levels of pitch, tempo, melody, loudness, repetition and rhythm would have been used to create particular emotional effects for each of these 'Hmmmmm' utterances…. The key argument of this chapter is that both the multi-modal and the musical aspects of such utterances would have been greatly enhanced by the evolution of bipedalism. (Mithen 2005, pp. 149-150) As shown in the quotation above and drawing mainly on experiments and conclusions from psychology, speech and hearing, and evolution studies, Mithen works arduously to sustain his initial suggestions of close interrelationships and thus further suggests common origins of music, language, gesture, etc. The arguments and their supportive evidences would have been much persuasive had the author first devoted attention to a critical examination of the extant literature in basic musicological (including music cognition, cognitive ethnomusicology, and related fields) studies. For example, the author misses important details by limiting his references to older foundational work by John Blacking (1973) in the discussions of the linkages among music, body movement, and emotion (p. 153). The discussion would have been improved with an examination of other Blacking sources (e.g., 1977, 1984, 1988) and coverage of Kippen (1987). The very brief mentioning of "musical instruments…as an extension of the human body" raises several questions and doubts, mainly because the statement has no larger reference in the literature (or in specific personal research contexts) to qualify it as a useful one: Here we must note the importance of song – the combination of music and language. Song can be considered as the recombination of the two products of 'Hmmmmm' into a single communication system once again. But the two products, music and language, are only being recombined after a period of independent evolution into their fully evolved forms…. Moreover, that music is often produced by instruments which, as an extension of the human body in material form, are themselves a product of cognitive fluidity. And that is a further consequence of the segmentation of 'Hmmmmm.' (Pp. 273-274) Instead, I must again refer readers to a few of the pertinent sources, not to mention Blacking, et al. above. Three sources, which also address cognitive dimensions of the musical instrument and body Empirical Musicology Review Vol. 3, No. 1, 2008 25 connections are Baily (1992), Davidson (1994), and Ray Birdwhistell's classic text, Kinesics in Context: Essays on Body Motion (1970). The notion of and approach to "communication system" does little to advance the arguments about music-language-mind-body relations since it was not sufficiently explored beyond its rudimentary conceptions. In this case, one would have to turn to, for example, Harwood (1976) again, who demonstrates the active, interactive, and "constructive" nature of communications through the adoption of an "information-processing" perspective. What is this "Hmmmmm" about? Mithen's idea is that music and language have origins in a form of "holistic" communication among early hominids and which he describes as "Manipulative," "Multimodal," Musical," and "Memetic." (Holistic, manipulative, multi-modal, musical, and memetic. See also exegeses in quotes above.) Further, the fuzzy distinctions between music and language acknowledged by Mithen should, in essence, become useful resource rather than a deficit, which exposes his limited grasp of the existential and hence more encompassive definitions of music in world cultures: Some cultures have forms of vocal expression that it neither our category of music nor that of language. The most evident are the mantras recited within Indian religions. (P. 12) In fact, a clear and broader understanding of the complex relationships between music and language is stunted, first by our insistence on a priori categories, limited range of examples, and lack of sensitivity to everyday articulations beyond the Indian example. For example, in what world epic (another example of problems with naming—categories) traditions, it is this fuzzy status that is explored for various artistic, aesthetic, and ritualistic purposes. Even the Indian example alluded to is exemplified in numerous world contexts where artificial and practical means are constructed to ensure the "proper" performance and ritual efficacy. Such strategic but contextual validation of chant, epic, recitation, sing-song, declamatory speech, incantation, etc. serve as working categories that conjoin and at the same transcend music and language dichotomies; they also serve as performance constructions of local genre categories designating ensemble (or song) type and function. Essays by George List (1963), Anthony Seeger (1979), and Carol Robertson–De Carbo (1976) are basic examples that would appeal to any serious researcher interested in the dialectics of music and language. Another expressive form that complicates the music-language dichotomies is the lament. Since this peculiar human expression is closely related to issues and generation of emotion (which occupies a central portion of the Mithen's discussions as far as the origins and emotional attributes of music and language are concerned, including those identified with "apes"), a more critical and expansive treatment of the subject of music and language/speech boundaries is thus required, an indispensable task in establishing a firm foundation for Singing Neanderthals's primary frames of reference and assumptions. Without a clear understanding of the what, why, and how of the deeper and yet bewildering songspeech continuum, the whole project rests on shaky ground, no matter how many psychological tests, language and musical experiments are cited. Even in the case of lament, which is included in Alan Lomax's stalled cantometrics/parlametrics/
choreometrics (Lomax 1968) project's examples of world "music" traditions, there are significant parameters and contextual employments of the lament which would illuminate the nature of music-language interconnections, for example as explored in Margarita Mazo essay, "Lament Made Visible: A Study of Paramusical Elements in Russian Lament" (1994). Mazo highlights the timbral characteristics as well as resources and techniques of embodiment (body is very important here, too) that identify the lament in various contexts of performance. I hazard to say also that whether we are dealing with lament, chant, or song but in relation to the mind and body, there are very important questions that will always remain unanswered. For example, a lament performed/sung in ritualized context such as wedding, or re-enactment of it in a contemporary stage will present specific challenges that our modern tools cannot access or describe. For example, how is it possible to study the performer in a real and yet dynamic funerary context? What are some differences and challenges in a staged lament and the one occurring in a funerary context? While it may be possible to "control" the performer in a staged version (assuming such "control" mechanism and its tools will constitute part of the dramaturgy, the entertainment aspect of the performance); I leave the problems in the example of an ongoing funerary situation to the readers' imagination. At what level of precision are we able to determine "faked" and "natural" emotions and which sites (language, music visual cues/display, historical memory, individual biophysiology, etc.) are responsible? Finally, the investigator must be clear about not only the limits but also fascinating possibilities that await us when we formulate operational definitions of the Empirical Musicology Review Vol. 3, No. 1, 2008 26 "mind" and the brain; the main challenge is in trying to discover their individual statuses as well as their mutual engagements in the context of musical, verbal, and motional operations. For example, to what extent is the mind independent of the brain, and what is the mind's constitution and manifestations in relation to the "soul," if such incorporeals are, indeed, easily accessible? Maybe with a hidden camera that is able to scan with precision the brain wave, inner workings, locations and interactions of musical, speech and paramusical communications and processings, we can arrive at some temporary indicators of the boundaries of speech and music, including the of qualities of lament. (I must confess here hat proper research protocol will not encourage the idea of a "hidden" camera.) In sum, lament seems a very propitious area where the intersections and feedback processes (and the whole idea of origins and evolution) involving the mind, brain body/gesticulation/gesture, music and language can be examined in very meaningful ways, if the right tools become available. It is worth noting that later and with that brief discussion of chant/mantra Mithen prematurely suggests an earlier stage in human evolution (i.e., for chant): Finally, we should recall that form of vocal expression I referred to in chapter 2, that can be defined neither as music nor as language, while it exhibits aspects of both: Indian mantras. ……As relatively fixed expressions passed from generation to generation, they are, perhaps, even closer than IDS [infant-directed speech] to the type of 'Hmmmmm' utterances of our human ancestors. (P. 277) This suggestion, when seen in the larger discussion in chapter 12, especially the subsection titled, "From birdsong to human music" (pp. 178ff.) and in the light of the following conclusion will carry much weight and positive impressions but only if, for example, the case for the lament (and related performance acts) elaborated above is given fuller attention: We have already seen that Miller's last assertion is quite wrong: the musicality of our ancestors and relatives did have considerable survival values as a means of communicating emotions, intentions and information. (P. 178ff., reviewing the works of Darwin and Geoffery Miller (1997; 2000). There is no doubt that Mithen's ideas are firmly anchored in evolutionary premises and such unwavering commitment—especially in the light of several areas that either lack discussion altogether or are wanting in sufficient evidence—mutes the impact of some of the more exciting examples presented. For example, the following excerpts, which should not be seen as redundant or space-wasting, support my conclusion: We should first note that the anatomical differences between the early hominids, especially Homo, and the modern-day apes would have provided the potential for a more diverse range of vocal sounds The key difference is the reduction in the size of the teeth and jaws because of the dietary trend towards meat-eating. This would have changed the shape and volume of the final section of the vocal tract… The changes to the teeth and jaws, and hence the potential movement of the tongue and lips, are important because we can think of sounds emitted from the mouth as deriving from 'gestures', which created by a particular position of t he so-called articulatory machinery—the muscles of the tongue, lips, jaws and velum (soft palate)… As motor actions, such gestures ultimately derive from ancient mammalian capacities for sucking, licking, swallowing and chewing. These began the neuroanatomical differentiation of the tongue that has enabled the tongue tip, tongue body and tongue root to be used independently from each other in order to create particular gestures, which in turn create particular sounds, some of which involve a combination of gestures. As the size of the dentition and jaws in the early Homo species became reduced, a different range and a greater diversity of oral gestures would have become possible Empirical Musicology Review Vol. 3, No. 1, 2008 27 compared with those available to their australopithecine ancestors, Although we do not know exactly how the potential range of vocalizations would have varied between the australopitheticnes, early Homo and the modern African apes, one thing is certain: hominids would have been more sensitive to high-frequency sounds than are modern humans. (Pp. 128-129) Finally, the firm commitment to evolution is defended further with gusto (but hidden in a footnote) and in the light of two different orientations from "forthcoming" literature (I have supplied full bibliographic information where the source is now in public domain): Some scholars such as Bickerton (1990), Arbib (in press) [available: Michael Arbib, "From monkey-like action recognition to human language: An evolutionary framework for neurolinguistics." Behavioral and Brain Sciences, 28/2(2005):105-124] and Tallerman (in press) [Tallerman, M. (2005). Language Origins: Perspectives on Evolution. Oxford: Oxford University Press, 2005.] argue against any direct evolutionary continuity between human language and age vocalizations, claiming, for instance, that all ape vocalizations are involuntary and rely on quite different parts of the primate brain from those used in human language, While there are undeniable and significant differences, to argue that these invalidate evolutionary continuity strikes me as bizarre. Seyfarth (in press) [Dorothy L. Cheney and Robert M. Seyfarth, Baboon Metaphysics: The Evolution of a Social Mind. Chicago: University of Chicago Press, 2007] has succinctly summarized the case for continuity citing studies that demonstrate continuity between the behaviour, perception, cognition and neurophysiology of human speech and primate vocal communication. (P. 304, Note no. 3.) In the interest of fairness, it is important for me to put in context at least one of the sources, especially the "pro" for Mithen; conclusions from this work update Darwin in very precise and provocative ways but which ignore new or emerging culturally and contextually sensitive paradigms. Here is an excerpt from a summary of Cheney and Seyfarth: Some of the most striking evidence for an innate predisposition to learn one's own species' communication comes from children who are born blind or deaf. Although they cannot see the objects in the world to which spoken words refer, blind children develop language at roughly the same age and in the same manner as children who can see. Data from children born deaf are even more striking… Although raised in loving, supportive environments, these children were deprived of any exposure to language. Nonetheless, they spontaneously invented a sign language of their own, beginning with single signs at roughly the same age that single words would ordinarily have appeared. And during the following months and years, as they developed more complex sentences, the children produced signs in a serial order according to their semantic role as subject, verb, and object. The songs of sparrows, the calls of monkeys, and the language of human children could hardly be more different, yet they all lead to the same conclusion: Each species has a mind of its own that, like its limbs, heart, and other body parts, has evolved innate predispositions that cause it to organize incoming sensations in particular ways. The mind arrives in the world with constraints and biases, "prepared" by evolution to view the world, organize experiences, and generate behavior in its own particular way. And because each species is different, the behavior of different species is unlikely to be explained by a few general laws based entirely on experience… This conclusion from the laboratory is important, because it encourages us to believe that Darwin was right: we can trace the causation of thought in different species, study its structure, and reconstruct its evolution. [http://www.press.uchicago.edu/Misc/Chicago/102436.html ] Empirical Musicology Review Vol. 3, No. 1, 2008 28 Mithen acknowledges the complex interdisciplinary nature of his research by briefly mentioning an important, developing research that takes into account the brain, the body, the mind, music, language—that is, entrainment. As is common throughout the text, this where, unfortunately, we encounter the usual "may be" refrain: It may, indeed, be in this connection that the phenomenon of entrainment – the automatic movement of body to music – arose. Experimental work with chimpanzees seems essential since, according to this hypothesis, their lack of full bipedalism should mean that they also lack the phenomenon of entrainment to music. (p. 153). The title of chapter ten, "Getting into Rhythm" is an express reference to entrainment but which is not developed or explored in depth by the author. It is important, especially for the subject of musiclanguage- body relationships, to broaden and update expert sources with those from emerging fields of study and new technologies such as in entrainment where serious collaborative research is being pursued. Cognitive ethnomusicology is one such field which integrates neurobiology, MRI, psychology, music cognition, and various cultural factors. For example, the October 24, 2007 Pre-Conference Symposium on Cognitive Ethnomusicology of the Society of Ethnomusicology focuses on "New Directions" such as "Music and the 'Cultural Brain'" and "Music, Movements, and Entrainment." In his latest work, Udo Will, a leading figure in cognitive ethnomusicology, is able to offer a much broader, incisive perspectives and persuasive arguments and evidences, including his open support for contextual and cultural factors, as seen in the following excerpts from his recent essay, "In the Garden of Cultural Identities: On the Logic of Culture, Race and Identity in Postmodernist Discourse": In Turner's essay nature and culture do indeed meet, but they are still separate domains. At the time Turner took an interest in brain sciences, research in this field was largely dominated by a 'cognitivistic'-computational orientation (the human brain works like a computer). This direction has been and still is criticized for neglecting or omitting the affective-emotional and the bodily existence of humans as well as eliminating contextual elements – a direction not well equipped to overcome the nature/culture dichotomy. However, during the last few decades cognitive sciences saw the emergence of new and powerful paradigms - connectionism, autopoiesis, enaction/embodiment – as well as new orientations like neuro-phenomenology, that offer promising alternatives to the standard cognitivistic approach…. In both these approaches, the anthropological as well as the neuro-phenomenological one, there is an essential link between the cultural and the biological domain, each cannot be understood without the other, and there can no longer be a question of either relocating one domain in the other or defining one in isolation from the other. The cultural domain is no longer conceived in opposition to the biological and its grounding in action seems to preempt its reification. What is needed is an anthropological reconceptualization of 'culture' along those lines proposed by Tomasello and Becker, one that takes into consideration the basic aporias of the old one and integrates insights and perspectives forwarded by neuroscientists like Varela and Freeman. (Will, in press.) As briefly indicated in the beginning, phenomenology remains one of the important fields that has been under-explored and two main reasons are: there is an enormous complexity involved in phenomenological research in terms of methodology and relevant tools; and the level of erudition and sophistication demanded of the researcher, not counting interdisciplinary challenges inherent in any such research enterprise. It is, therefore, both interesting and at the same time very superficial to see how Mithen intimates and thus implicates "phenomenology" without any sufficient explication, as shown in the context cited above. It is totally unacceptable to label chapter fourteen "Making music together: The significance of cooperation and social bonding" and provide a large body of discussion around this theme without acknowledging the prime influential source, Alfred Schutz's classic essay "Makin Music Together" (Schutz Empirical Musicology Review Vol. 3, No. 1, 2008 29 1962). Even Will could not advance his more avant-garde techniques and perspectives without situating the phenomenological imperative: In both these approaches [phenomenology and scientific materialism], the anthropological as well as the neuro-phenomenological one, there is an essential link between the cultural and the biological domain, each cannot be understood without the other, and there can no longer be a question of either relocating one domain in the other or defining one in isolation from the other. The cultural domain is no longer conceived in opposition to the biological and its grounding in action seems to preempt its reification…. The orientations developed by neuroscientists like Varela, Freeman, or Nunez clearly point toward a phenomenology of embodiment that is of outmost relevance to the social sciences and humanities. (Will, in press) There are, however, some important common sense observations and examples drawn from psychological tests with prisoners in William McNeill (1995) on "cooperative behavior" and "boundaryloss" (blurring of self-awareness and the heightening of fellow feeling with all who share in a dance'" (p. 209) and which work Mithen summarizes as "communal music-making is actively creating, rather than merely reflecting, that pleasing sense of unity." (P. 208) The common supposition underlying this chapter is found in Mithen's own words: "That joint music-making forges social bonds and group identity is the 'common-sense' understanding with which I began this chapter." (P. 217) Although he does not go into all the necessary details, the author makes effort to link group music making to its social, neurological, emotion, and general cognitive apparatuses. The example from William Benzon (2001) who the author describes as "jazz musician" and cognitive scientist discusses further the idea (and some processes) of synchronization (or "coupling") in relation to emotional and nervous states is probably the ideal space where the author could situate in useful perspective the extensive work by Paul Berliner, Thinking in Jazz: The Fine Art of Improvisation ( 1994) ). There are other important insights and benefits that might accrue from relating to this work, for example, the basic participant-observation method, focus interviews, multiple field contexts, performers' semantic differentials, etc., all provide important materials that would guide an arm-chair researcher about the relevance of field and general ethnographic details in researching the cognitive dimensions of music, language, and gesture from phenomenological perspectives. A mere mention of "contextual" and "cultural" factors will not provide sufficient evidence or support and cultural and individual contexts are just as crucial as any biophysiological and cognitive processes. Thus, Mithen's case for "culture" is even more repressed, as seen in the following position on biology-nature-culture (my reformulation): Indeed, some would argue that the type of environment within which the brain develops is the principal determinant of its neutral circuitry. Babies are born into and develop within cultures that have language as the dominant form of aural communication, and this influences the neural networks that are formed within their brains. Nevertheless, the genes we inherit from our parents derive from our evolutionary history and must channel that development; it is the extent of this channelling that remains highly debated among psychologists. My own view is one gives equal weight to evolution and culture as regards the manner in which neural networks develop. All I expect is a broad compatibility between evolutionary history and brain structure – and this is indeed what appears to be present. (Pp. 274-275) Again, Will's essay seems to make a clearer and stronger statement on the nature of the biologyculture- nature debate and advances made up to the present. An attempt to secure some of the arguments in "cultural" contexts remain open-ended, at best, as seen in the incomplete argument about maternal care, lullaby traditions and a problematic identification of the "expression 'Yuk'" and its associated gestures as "found in all cultures," "inbuilt" and that "parents in all cultures are frequently saying 'Yuk' to their babies while making the appropriate facial expression..." (p. 203) Or when he says, Empirical Musicology Review Vol. 3, No. 1, 2008 30 "[d]emand-feeding – feeding whenever the baby cries for food – is pervasive in all traditional societies and requires close contact between mother and infant all day and night; its approved absence in modern Western society is quite peculiar." (P. 201) A serious reader is very likely to catch up with many of these flawed areas, especially those that are patched up to "explain" environmental, cultural and individual variations or impacts. A case for gesture, gesturing, and general synaesthesia and kinesthetics would consider also, in our times, the impact of repeated tasks and new posture-mobilities that have been facilitated by human adaptive mechanisms and creativity in response to new challenges from digital and cyberspace technologies. How are our brains and neuro-acoustic sensibilities evolving as we adapt physically, neuro-psychologically, and mentally to several forms of earphones, headphones, surround sounds, television watching, nonlinear-browsing/reading, riding (as opposed to walking) to work, text-messaging in the dark, and so on? Of course, in the midst of many conflicting ideas in past and present researches, it is almost a pyrrhic victory for Mithen to quickly take middle grounds in many of such unresolved research issues; his slouching toward and away from Jerry Fodor, La Mente Modulare (1988), one of the controversial scholars in cognitive studies, is an example: In general, an evolutionary approach to the mind leads to an expectation that the mind will have a modular structure. In accordance with the specific evolutionary history I have proposed, we should expect pitch and temporal organization to have the degree of independence that Peretz suggests, because the latter appears to have evolved at a later date, being associated with the neurological and physiological changes that surrounded bipedalism. Similarly, we should not be surprised that Peretz found that the root of congenital amusia lies in the ability to detect variations in pitch, because from an evolutionary perspective that appears to be the most ancient element of the music system within the brain. The fact that the music and language systems in the brain share some modules is also to be expected given the evolutionary history I have proposed, because we now know that both originate from a single system (my emphasis). Conversely, the fact that they also have their own independent modules (my emphasis) is a reflection of up to two hundred thousand years of independent evolution. The modules relating to pitch organization would once have been central to "Hmmmmm' but are now recruited only for music (with possible exception in those who speak tonal languages) (my emphasis); while other "Hmmmmm' modules might now be recruited for the language system alone—perhaps for example, those relating to grammar. This evolutionary history explains why brain injuries can affect either music alone (chapter 4), language alone (chapter 3), or both systems if some of the shared modules are damaged. ( P. 274) Critical readers must turn to Laura Bennet (1990), Richard Samuels (1998) and Okasha (2003), for example, in order to locate firm anchoring of convictions and arguments that contest and caution Fodor. First, the following recent conclusion from an unpublished "preliminary results" of an ongoing study of speech/prosodic and musical rhythms in tonal language systems provides a very reliable basis and context for the yet-to-be-examined, parenthetical (yet significant) remark about "tonal languages" (see bold face above): Such a close correspondence of prosodic components in music and speech does not exist in all tonal languages…. Though in actual performance sung and spoken versions may differ in the time and/or frequency domain, the tight link between them seems to be established through the interaction of verbal recall, recall of toneme patterns, phonetic articulatory constraints and syllable duration patterns. (Udo Will, unpublished preliminary research conclusions involving Ewe and Chinese examples) Empirical Musicology Review Vol. 3, No. 1, 2008 31 Mithen's secondary sources and conclusions on neural processing of melodic contour and speech prosody are also very important, especially with the focus on the brain and in light of Will's findings. According to Mithen, …a study published in 1998 by Isabelle Peretz and her colleagues [Besson et al. 1998] is particularly important because it explicitly attempts to identify whether the same neutral network within the rain processes sentence prosody and melodic contour, or whether independent systems are used. (P. 56) The results were very striking indeed. CN performed as well as the control subjects at identifying whether paired sentences and paired melodies were the same or different, for each of the three classes of sentence (statement-question, focus-shift and timing-shift)… As CN was able to process both speech prosody and pitch contour, while IR was able to process neither, Peretz and her colleagues conclude that there is indeed a stage at which the processing of language and of melody utilize a single, shared neural network. From IR's speech deficits, they concluded that this network is used for holding pitch and temporal patterns in short-term memory. (P. 58) [Subjects CN and IR: "Both suffered from amusia and had brain damage in left and right hemispheres…But IR was entirely unable to sing even an isolated single pitch." (P. 56) I believe the experiments and results cited (including additional ones in which different subjects with varying music and language conditions were involved were also reported and discussed) increase the number of questions that Jerry Fodor continues to encounter. The more rigid modular approaches (massive modularity) of Fodor and the more artificial, neural-network and transformational grammar approaches of Chomsky, et al. (including the oft-cited Fred Lerdhal and Ray Jackendoff, Generative Theory of Tonal Music, 1983) have since been tempered by varying emphases on information-processing paradigms (for example as preferred over "information theory" in Dane Harwood's 1976 essay, "Universals in Music: A Perspective from Cognitive Psychology."). Even when both Mithen and Harwood acknowledge input from culture and environment, these do not receive any significant analysis or argumentation. For example, Harwood defines and prefers "information-processing" along and within parameters of "perceiving, remembering, understanding and using musical information in culture" (Harwood 1976); the "mind" is also carefully positioned together with "language," thus: [A]ll people 'construct' their worlds; we impose categories on our perceived environment, and this "categorical perception" is as indicative of musical behavior as of vision, language—indeed, all human thinking. (Harwood 1976) Harwood's constructivist's perspectives are, however, a significant advance in appreciating and integrating individual contextual factors in cognitively oriented research. The clearest statements on the music-language-brain debates are found in Mithen's' review of Isabelle Peretz's studies (referenced above), for example: Her final point, about the apparent overlap between the neural networks used for speech and music tasks, is one of the most important, but still unresolved, issues….[Aniruddh] Patel has noted a curious result emerging from these studies: although the lesion studies have shown that music and language capacities can be partially or entirely dissociated, the brain-imaging studies suggest that they do share the same neural networks. This apparent contradiction remains to be resolved. (P. 65) New and ongoing research work in the cognitive ethnomusicology laboratory at the School of Music, The Ohio State University is opening new avenues in regard to our understanding of the human brain and in relation to the processing of speech and music within various individual and cultural contexts. In addition, the laboratory employs advanced technological resources and novel techniques, including MRI and EEG and in collaboration with experts in the fields of medicine and psychology. It is also within this innovative research setting that the "tonal languages" alluded to by Mithen (see bold text in quote above) Empirical Musicology Review Vol. 3, No. 1, 2008 32 are being examined in relation to communication of verbal and musical messages, drawing on research with both Chinese and Hmong languages. It is critical that we recognize the intersection and hence the problematics of meaning, cognition, perception, communication strategies, and notions of ineffability, for example. It is at this point of this review that the Diana Raffman's Language, Music and Mind (1993) important work must be acknowledged, for it provides succinct, clear and authoritative positions on the various issues and subjects covered in Mithen. (Unfortunately Raffman is among the list of very significant works missing in the final bibliography.) For example, Raffman critiques and resolves issues of differences between music and language; emotion and musical meaning, Fodor's modularity, ineffability, etc.., exposing the major flaws in those works that are premised on extensive similarities, fixed or machine- structures/operations, and on socalled universal prototypes. Of course, Raffman's samples, just like most other researchers on the subject, are limited to Western tonal music. Meaning, affect, emotion and how these are qualified in various musical contexts in relation to the mind, brain and body are presented but the discussion is limited to the older perspectives, including the very controversial and outmoded ideas of Deryck Cooke (1959). (See, for example, John Shepherd's vigorous and critical review of Cooke in Whose Music? A sociology of musical languages, 1977). Sections of Singing Neanderthals on emotions are important but half-baked, especially when they are proffered to support the premises and speculations about evolution. Thus, no further argumentation or critique is provided beyond the summative dictum: music influences our emotions. A main question, however, remains unanswered: Which musical types or structures evoke which emotions and why? CONCLUSIONS Singing Neanderthals is a recent addition to the literature on music-mind-language-body discourse and has revitalized debates and interests in issues of origins, idiosyncracies and interactions of music, language, mind, and the body. The wide and sustained discussions generated by this publication can be seen in Listervs and from general Internet sources that advertise speaking engagements involving the author, Steven Mithen. Truly consistent with his beliefs that Neanderthals were not capable of making musical instruments, Mithen vigorously contests the notion that the widely publicized "Neanderthal bone flute" discovered in 1996 is a flute, after his personal observation of it in the National Museum of Slovenia in 2004: But I wasn't convinced, and concluded that the bone's resemblance to a flute is simply one of chance. So we lack any evidence that the Neanderthals manufactured musical instruments. My own theoretical views suggest that they were unlikely to have been able to do so, although I suspect that unmodified sticks, shells, stones and skins may have played some role in their music-making. (P. 244). Mithen's personal opinions here are, however, not closed; similar conclusions by independent researchers are necessary in validating and updating them. The case of the bone flute nevertheless represents a significant relief from the overwhelming dependence on secondary sources. Singing Neaderthals definitely is a courageous compilation and discussion of .a huge literature on very complex subject; it brings to light many of the unresolved questions and tentative conclusions on the nature and operations of the brain, particularly how it processes music, and language information. The motional dimensions and the general ontological statuses and relationships among the brain, mind, body, and language will remain beyond the reach of our minds, body, and investigative tools, at least not until we have a better understanding, in concrete ways, of the "mind." The disciplines involved in this project are plural and necessarily so due to the nature of the subject. Continuing team research across the disciplines will be one surepath in which to make reasonable progress toward the quest for understanding the most complex aspects of our humanity, especially when pursued in the context of a larger variety of cultural, individual, and musical traditions. Daniel K. Avorgbedor The Ohio State University Empirical Musicology Review Vol. 3, No. 1, 2008 33 REFERENCES Arbib, M. (2005). From monkey-like action recognition to human language: An evolutionary framework for neurolinguistics. Behavioral and Brain Sciences, Vol. 28, No. 2, pp. 105-124. Baily, J. (1992). Music performance, motor structure, and cognitive models. In M. P. Baumann, A. Simon, & U. Wegner, (Eds.), European Studies in Ethnomusicology: Historical Developments and Recent Trends. Wilhelmshaven: Florian Noetzel. Selected papers presented at the Viith European Seminar in Ethnomusicology, Berlin, October 1-6, 1990 Intercultural Music Studies 4. Bennett, L. J. (1990). Modularity of mind revisited. The British Journal for the Philosophy of Science, Vol. 41, No. 3, pp. 429-436. Besson, M., Faita, F., Peretz, I.,Bonnel, A.-M., & Requin, J. (1998). Singing in the brain: Independece of lyrics and tunes. Psychological Science, Vol. 9, No. 6, pp. 494-498. Benzon, W. (2001). 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Tallerman, M. (2005). Language Origins: Perspectives on Evolution. Oxford: Oxford University Press. Will, U. (In press.) In the garden of cultural identities: On the logic of culture, race and identity in postmodernist discourse." European Meetings in Ethnomusicology, Vol. 12, August/September 2007.
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He aprovechado parte de vuestro interesante post para uno mío:
http://futurfinances.blogspot.com/2009/07/tanto-pensar-leer-y-escuchar-los.html