Читать книгу The Secret Life of the Mind: How Our Brain Thinks, Feels and Decides - Mariano Sigman - Страница 10

Meltzoff’s experiment gives – against all intuition – an affirmative response to Molyneux’s question: newborn babies can recognize by sight two objects that they have only touched. Does the same thing happen with a blind adult who begins to see? The answer to this question only recently became possible once surgeries were able to reverse the thick cataracts that cause congenital blindness.

The first actual materialization of Molyneux’s mental experiment was done by the Italian ophthalmologist Alberto Valvo. John Locke’s prophecy was correct; for a congenitally blind person, gaining sight was nothing like the dream they had longed for. This was what one of the patients said after the surgery that allowed him to see:

I had the feeling that I had started a new life, but there were moments when I felt depressed and disheartened, when I realized how difficult it was to understand the visual world. [ … ] In fact, I see groups of lights and shadows around me [ … ] like a mosaic of shifting sensations whose meaning I don’t understand. [ … ] At night, I like the darkness. I had to die as a blind person in order to be reborn as a seeing person.

This patient felt so challenged by suddenly gaining sight because while his eyes had been ‘opened’ by the surgery, he still had to learn to see. It was a big and tiresome effort to put together the new visual experience with the conceptual world he had built through his senses of hearing and touch. Meltzoff proved that the human brain has the ability to establish spontaneous correspondences between sensory modalities. And Valvo showed that this ability atrophies when in disuse over the course of a blind life.

On the contrary, when we experience different sensory modalities, some correspondences between them consolidate spontaneously over time. To prove this, my friend and colleague Edward Hubbard, along with Vaidyanathan Ramachandran, created the two shapes that we see here. One is Kiki and the other is Bouba. The question is: which is which?

Almost everyone answers that the one on the left is Bouba and the one on the right is Kiki. It seems obvious, as if it couldn’t be any other way. Yet there is something strange in that correspondence; it’s like saying someone looks like a Carlos. The explanation for this is that when we pronounce the vowels /o/y/u/, our lips form a wide circle, which corresponds to the roundness of Bouba. And when saying the /k/, or /i/, the back part of the tongue rises and touches the palate in a very angular configuration. So the pointy shape naturally corresponds with the name Kiki.

These bridges often have a cultural basis, forged by language. For example, most of the world thinks that the past is behind us and the future is forward. But that is arbitrary. For example, the Aymara, a people from the Andean region of South America, conceive of the association between time and space differently. In Aymara, the word ‘nayra’ means past but also means in front, in view. And the word ‘quipa’, which means future, also indicates behind. Which is to say that in the Aymaran language the past is ahead and the future behind. We know that this reflects their way of thinking, because they also express that relationship with their bodies. The Aymara extend their arms backwards to refer to the future and forwards to allude to the past. While on the face of it this may seem strange, when they explain it, it seems so reasonable that we feel tempted to change our own way of envisioning it; they say that the past is the only thing we know – what our eyes see – and therefore it is in front of us. The future is the unknown – what our eyes do not know – and thus it is at our backs. The Aymara walk backwards through their timeline. Thus, the uncertain, unknown future is behind and gradually comes into view as it becomes the past.

We designed an atypical experiment, with the linguist Marco Trevisan and the musician Bruno Mesz, in order to find out whether there is a natural correspondence between music and taste. The experiment brought together musicians, chefs and neuroscientists. The musicians were asked to improvise on the piano, based on the four canonical flavours: sweet, salty, sour and bitter. Of course, coming from different musical schools and styles (jazz, rock, classical, etc.) each one of them had their own distinctive interpretation. But within that wide variety we found that each taste inspired consistent patterns: the bitter corresponded with deep, continuous tones; the salty with notes that were far apart (staccato); the sour with very high-pitched, dissonant melodies; and the sweet with consonant, slow and gentle music. In this way we were able to salt ‘Isn’t She Lovely’ by Stevie Wonder and to make a sour version of The White Album by the Beatles.