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similar Just as we in assembling a jigsaw puzzle are guided by the contours of the puzzle pieces, are also involved in the object perception groups of neurons specialized for certain contours, for example, the three lines in the corners of a cube meet at a point. From the lowest level of a hierarchy of groups of neurons that respond only to underscore, on the still relatively low level of those groups of neurons that combine these lines to more complex contours to the top of the pyramidal hierarchy, where a single neuron only to the sight their own grandmother or responding to the face of Jennifer Aniston (see Dehaene, 2010, p.146), is the puzzle and more concrete to finally awaken our conscious awareness.
is interesting especially the flatness of the object of perception. While it is irritating when Dehaene and again at this level of "topological and spatial relations" speaks of the characteristics of perceived objects (see Dehaene, 2010, p.154), but if you look closely, it seems not the phenomenal structure of the meant to be objects in space, but those spatial 'distribution of the perceived characteristics of the retina, which the flat Character of this level of perception does not destroy. Dehaene raises even out specifically that this level of visual perception, the identification of the goods "on its position in space" makes you independent. (See Dehaene, 2010, p.153) However, one need here to draw not only on conjecture, because the findings of Dehaene concrete - obviously not influenced by the stereoscopic vision - flatness of the object of perception: "Our visual system seems shapes in three dimensions not to know - it is based solely on the two-dimensional images seen and expects them to appropriately "(Dehaene, 2010, p.320) The objects are
about. our visual perception solely through the flat, mosaic-like assembly of contours and have identified only later with the third dimension. These neurophysiological through the functionality of the object perception of certain two-dimensional plane, with its preference for contours (lines) is even a specific aesthetic expression in the stylization. Dehaene leads as an example the conversion from the stylized outline of a bull's head in the letter A. (See Dehaene, 2010, p.212) with the stylization of the human reduced its object of perception to the essential characteristics, which, according to Dehaene "a form of car stimulation 'for the visual cortex" is. (See Dehaene, 2010, p.203) Here we are again surprised how unconcerned Dehaene his perspective as transfers with magnetic resonance imaging brain researchers equipped the cave of Lascaux was 50 people 000 years ago. For me, however, is much more interesting as the person is able to do with the limited resources most neuronal function artistically highest standard of art.
The shape perception is on the level of neurophysiological function together as a mosaic. This is a different principle than the nesting inner and outer horizons at the level of phenomena. The neurophysiological mosaic is missing the space and with it the dimension of non-visibility of the rear sides of a phenomenon. Rotating objects can not be recognized as the same because it is the retina of many different, turning pages' and other hide. (See Dehaene, 2010 S.320f.) Rotate This, pages', this mesh and apart nested horizons leads out of the anatomy of the brain and gives effect to the anatomy of the human body. For only on the border of their own physicality created a center and a periphery, a difference of inside and outside, in short, spatial perception.
Dehaene which are now considered a second, the object of perception (. Cf. Dehaene, 2010 S.328f) independent visual system, visual system and this seems to functional anatomy of the body and its movement to be, so the level of behavior: "There is still another way of processing visual information: it is the route over the parietal region of the occiput, which deals with programming of the action. It depends solely on his (the subject matter - DR) distance, its position, its speed and direction of his outline to -. All those parameters that determine how we could act with respect to a subject "(Dehaene 2010, S.329)
This second visual system allows us to "pure virtual introduce gestures or movements. In this way we can rotate the objects in the mind. "(See Dehaene, 2010, S.329) is reminiscent of Husserl's eidetic not by chance variations, the basic principle of phenomenal analysis. Only with the possibility of rotation begins the actual vision, and it is no coincidence that on this second visual system, which is sensitive to rotation, are also regions of the brain that are "for the movements of the hand, others for the eyes "interested. (See Dehaene, 2010, S.331) completes the second visual system, then, as I already noted above, the performance with the inclusion of body image, that aspect of human physicality, as the Plessner, body "means.