Mapping Emotions in the Body: A Finnish Neuroscience Study Reveals Where We Feel Emotions in Our Bodies

“Eastern medicine” and “Western medicine”—the distinction is a crude one, often used to misinform, mislead, or grind cultural axes rather than make substantive claims about different theories of the human organism. Thankfully, the medical establishment has largely given up demonizing or ignoring yogic and meditative mind-body practices, incorporating many of them into contemporary pain relief, mental health care, and preventative and rehabilitative treatments.

Hindu and Buddhist critics may find much not to like in the secular appropriation of practices like mindfulness and yoga, and they may find it odd that such a fundamental insight as the relationship between mind and body should ever have been in doubt. But we know from even a slight familiarity with European philosophy (“I think, therefore I am”) that it was from the Enlightenment into the 20th century.

Now, says Riitta Hari, co-author of a 2014 Finish study on the bodily locations of emotion, “We have obtained solid evidence that shows the body is involved in all types of cognitive and emotional functions. In other words, the human mind is strongly embodied.” We are not brains in vats. All those colorful old expressions—“cold feet,” “butterflies in the stomach,” “chill up my spine”—named qualitative data, just a handful of the embodied emotions mapped by neuroscientist Lauri Nummenmaa and co-authors Riitta Hari, Enrico Glerean, and Jari K. Hietanen.

In their study, the researchers “recruited more than 1,000 participants” for three experiments, reports Ashley Hamer at Curiosity. These included having people “rate how much they experience each feeling in their body vs. in their mind, how good each one feels, and how much they can control it.” Participants were also asked to sort their feelings, producing “five clusters: positive feelings, negative feelings, cognitive processes, somatic (or bodily) states and illnesses, and homeostatic states (bodily functions).”

After making careful distinctions between not only emotional states, but also between thinking and sensation, the study participants colored blank outlines of the human body on a computer when asked where they felt specific feelings. As the video above from the American Museum of Natural History explains, the researchers “used stories, video, and pictures to provoke emotional responses,” which registered onscreen as warmer or cooler colors.

Similar kinds of emotions clustered in similar places, with anger, fear, and disgust concentrating in the upper body, around the organs and muscles that most react to such feelings. But “others were far more surprising, even if they made sense intuitively,” writes Hamer “The positive emotions of gratefulness and togetherness and the negative emotions of guilt and despair all looked remarkably similar, with feelings mapped primarily in the heart, followed by the head and stomach. Mania and exhaustion, another two opposing emotions, were both felt all over the body.”

The researchers controlled for differences in figurative expressions (i.e. “heartache”) across two languages, Swedish and Finnish. They also make reference to other mind-body theories, such as using “somatosensory feedback... to trigger conscious emotional experiences” and the idea that “we understand others’ emotions by simulating them in our own bodies.” Read the full, and fully illustrated, study results in “Bodily Maps of Emotions,” published by the National Academy of Sciences.

Related Content:

An Interactive Map of the 2,000+ Sounds Humans Use to Communicate Without Words: Grunts, Sobs, Sighs, Laughs & More

How Meditation Can Change Your Brain: The Neuroscience of Buddhist Practice

A Dictionary of Words Invented to Name Emotions We All Feel, But Don’t Yet Have a Name For: Vemödalen, Sonder, Chrysalism & Much More

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

An Animated History of Dogs, Inspired by Keith Haring

That quivering teacup Chihuahua…

The long-suffering Labrador whose child-friendly reputation has led to a lifetime of ear tugging and tail pulling…

The wheezing French bulldog, whose owner has outfitted with a full wardrobe of hoodies, tutus, rain slickers, and pajamas

All descended from wolves.

As anthropologist and science educator David Ian Howe explains in the animated TED-Ed lesson, A Brief History of Dogs, above, at first glance, canis lupus seemed an unlikely choice for man’s best friend.

For one thing, the two were in direct competition for elk, reindeer, bison, and other tasty prey wandering Eurasia during the Pleistocene Epoch.

Though both hunted in groups, running their prey to the point of exhaustion, only one roasted their kills, creating tantalizing aromas that drew bolder wolves ever-closer to the human camps.

The ones who willingly dialed down their wolfishness, making themselves useful as companions, security guards and hunting buddies, were rewarded come suppertime. Eventually, this mutually beneficial tail wagging became full on domestication, the first such animal to come under the human yoke.

The intense focus on purebreds didn't really become a thing until the Victorians began hosting dog shows. The push to identify and promote breed-specific characteristics often came at a cost to the animals’ wellbeing, as Neil Pemberton and Michael Worboys point out in BBC History Magazine:

…the improvement of breeds towards ‘perfection’ was controversial. While there was approval for the greater regularity of type, many fanciers complained that standards were being set on arbitrary, largely aesthetic grounds by enthusiasts in specialist clubs, without concern for utility or the health of the animal. This meant that breeds were changing, and not always for the better. For example, the modern St Bernard was said to be a beautiful animal, but would be useless in Alpine rescue work.

Cat-fanciers, rest assured that the opposition received fair and equal coverage in a feline-centric TED-Ed lesson, published earlier this year.

And while we applaud TED-Ed for sparking our curiosity with its “Brief History of” series, covering topics as far ranging as cheese, numerical systems, goths, video games, and tea, surely we are not the only ones wondering why the late artist Keith Haring isn’t thanked or name checked in the credits?

Every canine-shaped image in this animation is clearly descended from his iconic barking dog.

While we can’t explain the omission, we can direct readers toward Jon Nelson’s great analysis of Haring’s relationship with dogs in Get Leashed:

They’re symbolic of unanswered questions, prevalent in the 80s: “Can I do this?” “Is this right?” “What are you doing?” “What is happening?” Dogs stand by people, barking or dancing along, sometimes in precarious scenarios, even involved in some of Haring’s explicitly sexual work. Dogs are neither approving nor disapproving of what people do in the images; their mouth angle is neutral or even happy. In some cases, human bodies wear a dog’s head, possibly stating that we know only our own enjoyment, unaware, like a dog, of life’s next stage or the consequences of our actions.

Visit Ethnocynology, David Ian Howe’s Instagram page about the ancient relationship between humans and dogs.

Related Content:

An Animated History of Cats: How Over 10,000 Years the Cat Went from Wild Predator to Sofa Sidekick

Discover David Lynch’s Bizarre & Minimalist Comic Strip, The Angriest Dog in the World (1983-1992)

Photos of Famous Writers (and Rockers) with their Dogs

Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.  Join her in New York City April 15 for the next installment of her book-based variety show, Necromancers of the Public Domain. Follow her @AyunHalliday.

A Brief Animated Introduction to Noam Chomsky’s Linguistic Theory, Narrated by The X-Files‘ Gillian Anderson

How is it that children just entering toddlerhood pick up the structure of their respective languages with ease? They are not formally taught to use speech; they have limited cognitive abilities and a “poverty of stimulus,” given their highly circumscribed environments. And yet, they learn the function and order of subjects, verbs, and objects, and learn to recognize improper usage. Children might make routine mistakes, but they understand and can be understood from a very early age, and for the most part without very much difficulty. How?

These are the questions that confronted Noam Chomsky in the early years of his career in linguistics. His answers produced a theory of Universal Grammar in the 1960s, and for decades, it has been the reigning theory in the field to beat, initiating what is often referred to as the “Chomskyan Era,” a phrase the man himself dislikes but which nonetheless sums up the kinds of issues that have been at stake in linguistics for over fifty years.

Questions about language acquisition have always been the subject of intense philosophical speculation. They were folded into general theories of epistemology, like Plato’s theory of forms or John Locke’s so-called “blank slate” hypothesis. Variations on these positions surface in different forms throughout Western intellectual history. Descartes picks up Plato’s dualism, arguing that humans speak and animals don’t because of the existence of an immortal “rational soul.” Behaviorist B.F. Skinner suggests that operant conditioning writes language onto a totally impressionable mind. (“Give me a child,” said Skinner, “and I will shape him into anything.”)

Chomsky “gave a twist” to this age-old debate over the existence of innate ideas, as Gillian Anderson tells us in the animated video above from BBC 4’s History of Ideas series. Chomsky’s theory is biolinguistic: it situates language acquisition in the structures of the brain. Not being himself a neurobiologist, he talks of those theoretical structures, responsible for reproducing accurate syntax, as a metaphorical “language acquisition device” (LAD), a hardwired faculty that separates the human brain from that of a dog or cat.

Chomsky’s theory has little to do with the content of language, but rather with its structure, which he says is universally encoded in our neural architecture. Children, he writes, “develop language because they’re pre-programmed to do this.” Syntax is prior to and independent of specific meaning, a point he demonstrated with the poetic sentence “Colorless green ideas sleep furiously.” Every English speaker can recognize the sentence as grammatical, even very small children, though it refers to no real objects and would never occur in conversation.

Conversely, we recognize “Furiously sleep ideas green colorless” as ungrammatical, though it means no more nor less than the first sentence. The regional variations on word order only underline his point since, in every case, children quickly understand how to use the version they’re presented with at roughly the same developmental age and in the same way. The existence of a theoretical Language Acquisition Device solves the chicken-egg problem of how children with no understanding of and only a very limited exposure to language, can learn to speak just by listening to language.

Chomsky’s theory was revolutionary in large part because it was testable, and researchers at the professor’s longtime employer, MIT, recently published evidence of a “language universal” they discovered in a comparative study of 37 languages. It's compelling research that just might anticipate the discovery of a physical Language Acquisition Device, or its neurobiological equivalent, in every human brain.

Related Content:

The Ideas of Noam Chomsky: An Introduction to His Theories on Language & Knowledge (1977)

Noam Chomsky Defines What It Means to Be a Truly Educated Person

5 Animations Introduce the Media Theory of Noam Chomsky, Roland Barthes, Marshall McLuhan, Edward Said & Stuart Hall

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

Becoming: A Short Timelapse Film Shows a Single Cell Morphing Into a Complete, Complex Living Organism

From Jan van IJken comes "Becoming," a short timelapse film that documents "the miraculous genesis of animal life." He writes:

In great microscopic detail, we see the 'making of' an Alpine Newt in its transparant egg from the first cell division to hatching. A single cell is transformed into a complete, complex living organism with a beating heart and running bloodstream.

The first stages of embryonic development are roughly the same for all animals, including humans. In the film, we can observe a universal process which normally is invisible: the very beginning of an animal's life.

"Becoming" has been "selected at more than 20 international film festivals and won the award for Best short documentary at Innsbruck Nature Film Festival 2018, Austria." Enjoy.

Would you like to support the mission of Open Culture? Please consider making a donation to our site. It's hard to rely 100% on ads, and your contributions will help us continue providing the best free cultural and educational materials to learners everywhere.

Also consider following Open Culture on Facebook and Twitter and sharing intelligent media with your friends. Or sign up for our daily email and get a daily dose of Open Culture in your inbox. 

via Twisted Sifter

Related Content:

Free Online Biology Courses

The Map of Biology: Animation Shows How All the Different Fields in Biology Fit Together

Biology That Makes Us Tick: Free Stanford Course by Robert Sapolsky

Explore an Interactive Version of The Wall of Birds, a 2,500 Square-Foot Mural That Documents the Evolution of Birds Over 375 Million Years

Now, this avian Vatican also has its own Michelangelo.

Audubon Magazine

And the Class of Aves has its very own avian Pantone chart, created by science illustrator Jane Kim in service of her 2,500 square-foot Wall of Birds mural at Cornell University’s Lab of Ornithology.

The custom chart’s fifty-one colors comprise about 90 percent of the finished work. A palette of thirteen Golden Fluid Acrylics supplied the jewel-toned accents so thrilling to birdwatchers.

Along the way, Kim absorbed a tremendous amount of information about the how and why of bird feather coloration:

The iridescence on the neck and back of the Superb Starling comes not from pigment,

but from structural color. The starling’s outer feathers are constructed in a way

that refracts light like myriad prisms, making the bird appear to shimmer. The eponymous

coloring of the Lilac-breasted Roller results from a different kind of structural

color, created when woven microstructures in the feathers, called barbs and barbules,

reflect only the shorter wavelengths of light like blue and violet.

The primary colors that lend their name to the Red-and-yellow Barbet are

derived from a class of pigments called carotenoids that the bird absorbs in its diet.

These are the same compounds that turn flamingos’ feathers pink. As a member of

the family Musophagidae, the Hartlaub’s Turaco displays pigmentation unique in the

bird world. Birds have no green pigmentation; in most cases, verdant plumage is a

combination of yellow carotenoids and blue structural color. Turacos are an exception,

displaying a green, copper-based pigment called turacoverdin that they absorb

in their herbivorous diet. The flash of red on the Hartlaub’s underwings comes from

turacin, another copper-based pigment unique to the family.

 

Kim also boned up on her subjects’ mating rituals, dietary habits, song styles, and male/female differences prior to inscribing the 270 life-size, lifelike birds onto the lab’s largest wall.

She examined specimens from the center's collection and reviewed centuries’ worth of field observations.

(The seventeenth-century English naturalist John Ray dismissed the hornbill family as having a “foul look,” a colonialism that ruffled Kim’s own feathers somewhat. In retaliation, she dubbed the Great Hornbill, “the Cyrano of the Jungle” owing to his “tequila-sunrise-hued facial phallus,” and selected him as the cover boy for her book about the mural.)

Research and preliminary sketching consumed an entire year, after which it took 17 months to inscribe 270 life-size creatures—some long extinct—onto the lab’s main wall. The birds are set against a greyscale map of the world, and while many are depicted in flight, every one save the Wandering Albatross has a foot touching its continent of origin.

Those who can’t visit the Wall of Birds (official title: From So Simple a Beginning) in person, can log some digital birdwatching using a spectacular interactive web-based version of the mural that provides plenty of information about each specimen, some of it literary. (The aforementioned Albatross’ entry contains a passing reference to The Rime of the Ancient Mariner.)

Explore the Wall of Birds’ interactive features here.

You can download a free chapter of The Wall of Birds: One Planet, 243 Families, 375 Million Years by subscribing to Kim’s mailing list here.

Via Hyperallergic

Related Content:

Cornell Launches Archive of 150,000 Bird Calls and Animal Sounds, with Recordings Going Back to 1929

What Kind of Bird Is That?: A Free App From Cornell Will Give You the Answer

Modernist Birdhouses Inspired by Bauhaus, Frank Lloyd Wright and Joseph Eichler

Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.  See her onstage in New York City February 11 for Theater of the Apes book-based variety show, Necromancers of the Public Domain. Follow her @AyunHalliday.

Learn Anatomy Through a Pictorial History of James Bond 007

Remember the scene in Tomorrow Never Dies when sexy double agent Wai Lin handcuffs James Bond to the shower and leaves him there?

Alternately, remember “Table 9” from anatomist Bernard Siegfried Albinus’ 1749 Tabulae sceleti et musculorum corporis humani?

Kriota Willberg, an educator, massage therapist at Memorial Sloan Kettering Cancer Center, and author of Draw Stronger: Self-Care For Cartoonists and Other Visual Artists, is sufficiently steeped in both Bond and Albinus to identify striking visual similarities.

That shower scene is just one iconic moment that Willberg included in her mini-comic, Pictorial Anatomy of 007.

Agent Bond’s sartorial sense is a crucial aspect of his appeal, but Willberg, a Bond fan who’s seen every film in the canon at least five times, digs below that celebrated surface, peeling back skin to expose the structures that lie beneath.

Sean Connery’s Bond exhibits a veteran artist’s model's stillness waiting for the right time to make his move against Dr. No’s “eight-legged assassin.” Even before Willberg got involved, it was an excellent showcase for his pecs, delta, and sternocleitomastoid muscles.

Leaving her flayed Bonds in their cinematic settings are a way of paying tribute to the antique anatomical illustrations Willberg admires for their dynamism:

…sitting in a chair, taking a stroll, holding its skin or organs out of the way so that the reader can get a better look at deeper structures. Some of the cadavers are very flirty. The pictures remind us that we are the organs we see on the page. They do stuff! 

The New York Academy of Medicine selected Willberg as its first Artist in Residence, because of the way she explores the intersections between body sciences and artistic practices. (Other projects include an intricate needlepoint X-Ray of her own root canal and Stitchin’ Time!, a fictional encounter in which Aulus Cornelius Celsus (c. 25 BCE – c. 50 CE), author of  De Medicina, and surgeon Aelius Galenus (129  – c. 200 CE) team up to repair a disemboweled gladiator.

Is there a squeamish bone in this artist's body?

All signs point to no.

Asked to pick a favorite Bond movie, she names Goldfinger for the mythology concerning the infamous scene wherein a beautiful woman is painted gold, but also 2006’s Casino Royale for keeping the torture scene from the book:

I didn’t think they’d have the balls! Sorry! Poor taste but I couldn’t resist. Although Timothy Dalton physically resembled Bond as described in the books, most of the movies make Bond out to be smarter than Fleming wrote him. I think Judy Dench called Daniel Craig, Casino Royale’s Bond, a “blunt instrument” which is pretty much how he’s written. He’s tough and lucky and that’s why he’s survived. Plus the machete fight is great. 

Sometimes people get too prissy about the body. I am meat and liver and sausage and so are you. Your body is inescapable while you live. You should get to know it. Think about it in different contexts. It’s fun!

When From Russia With Love’s Rosa Klebb punches master assassin, Red Grant, in the stomach, she is squishing a living liver through living abdominal muscles.

Hard copies of Kriota Willberg’s anatomy-based comics, including Pictorial Anatomy of 007, are available from Birdcage Bottom Books.

Listen to an hour-long interview with Comics Alternative in which Willberg discusses her New York Academy of Medicine residency, anatomical research, and the ways in which humor informs her approach here.

Related Content:

The Spellbinding Art of Human Anatomy: From the Renaissance to Our Modern Times

Download the Sublime Anatomy Drawings of Leonardo da Vinci: Available Online, or in a Great iPad App

Free Online Biology Courses 

Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.  Her latest script, Fawnbook, is available in a digital edition from Indie Theater Now.  Follow her @AyunHalliday.

Explore an Interactive, Online Version of Werner’s Nomenclature of Colours, a 200-Year-Old Guide to the Colors of the Natural World

In a post earlier this year, we brought to your attention Werner’s Nomenclature of Colours. Used by artists and naturalists alike, the guide originally relied on written description alone, without any color to be found among its pages. Instead, in the late eighteenth century, German mineralogist Abraham Gottlob Werner painstakingly detailed the qualities of the 110 colors he surveyed, by reference to where they might be found on animals, vegetables, and minerals. The color “Pearl Gray,” for example, might be located on the “Backs of black headed and Kittwake Gulls,” the “Back of Petals of Purple Hetatica,” or on “Porcelain Jasper.”

The literary possibilities of this approach may seem vast. But its usefulness to those engaged in the visual arts—or in close observation of new species in, say, the Galapagos Islands—may have been somewhat lacking until Scottish painter Patrick Syme updated the guide in 1814 with color swatches, most of them using the very minerals Werner described.

It was the second edition of Syme's guide that accompanied Charles Darwin on his 1831 voyage aboard the HMS Beagle, where he “used it to catalogue the flora and fauna that later inspired his theory of natural selection,” as historian Daniel Lewis writes at Smithsonian.

While we might think of taxonomies of color as principally guiding artists, web designers, and house painters, they have been indispensable for scientists. “They can indicate when a plant or animal is a different species or a subspecies,” Lewis notes; “in the 19th century, the use of color to differentiate species was important for what it said about evolution and how species changed over time and from region to region.” For historians of science, therefore, Werner’s Nomenclature of Colours represents an essential tool in the early development of evolutionary biology.

Other color dictionaries followed, “designed to give people around the world a common vocabulary to describe the colors of everything from rocks and flowers to stars, birds, and postage stamps.” Some of these were highly specialized, such as the two-volume set created by the French Society of Chrysanthemists in 1905. All of them, however, strove to meet the high bar set by Werner when it came to level of detailed description. These are guides that speak in human terms, in contrast to the nomenclature most often used today, which “is really a machine language,” Kelsey Cambell-Dollaghan writes at Fast Company, “numerical hex codes crafted to communicate with software on computers and printers.”

In recognition of Werner and Syme’s contribution to color nomenclature, Smithsonian Books recently republished the 1814 edition of their guide, and the revised 1821 edition has been available for some time as scans at the Internet Archive. Now it has received a 21st update thanks to designer Nicholas Rougeux, who has created an online interactive version of the book, “with additions like data visualizations of its 100 colors and internet-sourced photographs of the animals and minerals that the book references"—a feature its creators could never have dreamed of. You can read Werner’s complete text, see all of the colors as illustrated and categorized by Syme, and even purchase through Rougeux's site cool 36” x 24” posters like that above, starting at $27.80.

It’s true, viewing the book online has its drawbacks, related to how Syme’s paint swatches are translated into hex codes, then displayed differently depending on various screen settings. But Rougeux has tried to compensate for this difference between print and screen. On a publicly accessible Google Doc, he has provided the hex codes “for each of the 18th-century hues, from Skimmed Milk (#e6e1c9) to Veinous Blood Red (#3f3033).” Not nearly as poetic as Werner’s descriptions, but it’s what we have to work with these days when reference books get written for computers as much as they do for humans.

See the interactive Werner’s Nomenclature of Colours here.

via Fast Company

Related Content:

Werner’s Nomenclature of Colour, the 19th-Century “Color Dictionary” Used by Charles Darwin (1814)

Goethe’s Colorful & Abstract Illustrations for His 1810 Treatise, Theory of Colors: Scans of the First Edition

The Vibrant Color Wheels Designed by Goethe, Newton & Other Theorists of Color (1665-1810)

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

More in this category... »
Quantcast