Cognitive Scientists

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April 10, 2026

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April 10, 2026

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"People who had damage to the right cerebral hemisphere were unable to recognise simple patterns, or enjoy music, but they could still speak normally. People with left-brain damage were able to recognise patterns, but their speech was impaired. Obviously, then, the left deals with language, and you would expect a split-brain patient to be unable to read with his right eye (connected, remember, to the opposite side of the brain). Sperry's patient was also unable to write anything meaningful (i.e., complicated) with his left hand. They noticed another oddity. if the patient bumped into something with his left side, he did not notice. And the implications were very odd indeed. Not only did the split-brain operation give the patient two separate minds; it also seemed to restrict his identity, or ego, to the left side. When they placed an object in his left hand, and asked him what he was holding, he had no idea. Further experiments underlined the point. If a split-brain patient is shown two different symbols -- say a circle and a square -- with each eye, and is asked to say what he has just seen, he replies, 'A square'. Asked to draw with his left hand what he has seen, and he draws a circle. Asked what he has just drawn, he replies: 'A square'. And when one split-brain patient was shown a picture of a nude male with the right-brain, she blushed; asked why she was blushing, she replied truthfully: 'I don't know'. The implications are clearly staggering. The person you call 'you' lives in the left side of your brain. And a few centimeters away there is another person, a completely independent identity. Where language is concerned, this other person is almost an imbecile. In other respects, he is more competent than the inhabitant of the left-brain; for example, he can make a far more accurate perspective drawing of a house. In effect, the left-brain person is a scientist, the right-brain an artist."

- Roger Wolcott Sperry

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"As we survey the various stages of evolution, from the simplest one-cell creatures up to man. we see a steady improvement in the methods of learning and adaptation to a hostile world. Each step in learning ability gives better adaptation and greater chance of survival. We are carried a long way up the scale by innate reflexes and rudimentary muscular learning faculties. Habits indeed, not rational thought, assist us to surmount most of life's obstacles. Most, but by no means all; for learning in the high mammals exhibits the unexplained phenomenon of "insight," which shows itself by sudden changes in behavior in learning situations -- in sudden departures from one method of organizing a task, or solving a problem, to another. Insight, expectancy, set, are the essentially "mind-like" attributes of communication, and it is these, together with the representation of concepts, which require physiological explanation. At the higher end of the scale of evolution, this quality we call "mind" appears more and more prominently, but it is at our own level that learning of a radically new type has developed -- through our powers of organizing thoughts, comparing and setting them into relationship, especially with the use of language. We have a remarkable faculty of forming generalizations, of recognizing universals, of associating and developing them. It is our multitude of general concepts, and our powers of organizing them with the aid of language in varied ways, which forms the backbone of human communication, and which distinguishes us from the animals. (p. 304)"

- Colin Cherry

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""Information" in most, if not all, of its connotations seems to rest upon the notion of selective power. The Shannon theory regards the information source, in emitting the signals (signs), as exerting a selective power upon the ensemble of messages. In the Carnap-Bar-Hillel semantic theory, the information content of statements relates to the selective power they exert upon ensembles of states. Again, at its pragmatic level, in true communicative situations [...] a source of information has a certain value to a recipient, where "value" may be regarded as a "selective power." Gabor, for example, observes that what people value in a source of information (i.e., what they are prepared to pay for) depends upon its exclusiveness and prediction power; he cites instances of a newspaper editor hoping for a "scoop" and a racegoer receiving information from a tipster. "Exclusiveness" here implies the selecting of that one particular recipient out of the population, while the "prediction" value of information rests upon the power it gives to the recipient to select his future action, out of the whole range of prior uncertainty as to what action to take. Again, signs have the power to select responses in people, such responses depending upon a totality of conditions. Human communication channels consist of individuals in conversation, or in various forms of social intercourse. Each individual and each conversation is unique; different people react to signs in different ways, depending each upon their own past experiences and upon the environment at the time. It is such variations, such differences, which gives rise to the principal problems in the study of human communication. (p. 244-5)"

- Colin Cherry

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"Every individual word in a passage or poetry can no more be said to denote some specific referent than does every brush mark, every line in a painting have its counterpart in reality. The writer or speaker does not communicate his thoughts to us; he communicates a representation for carrying out, this function under the severe discipline of using the only materials he has, sound and gesture. Speech is like painting, a representation made out of given materials -- sound or paint. The function of speech is to stimulate and set up thoughts in us having correspondence with the speaker's desires; he has then communicated with us. But he has not transmitted a copy of his thoughts, a photograph, but only a stream of speech -- a substitute made from the unpromising material of sound. The artist, the sculptor, the caricaturist, the composer are akin in this [fact that they have not transmitted a copy of their thoughts], that they express (make representations of) their thoughts using chosen, limited materials. They make the "best" representations, within these self-imposed constraints. A child who builds models of a house, or a train, using only a few colored bricks, is essentially engaged in the same creative task.* Metaphors can play a most forceful role, by importing ideas through a vehicle language, setting up what are purely linguistic associations (we speak of "heavy burden of taxation," "being in a rut"). The imported concepts are, to some extent, artificial in their contexts, and they are by no means universal among different cultures. For instance, the concepts of cleanliness and washing are used within Christendom to imply "freedom from sin." We Westerners speak of the mind's eye, but this idea is unknown amongst the Chinese. After continued use, many metaphorical words become incorporated into the language and lose their original significance; words such as "explain," "ponder," "see (what you mean)" we no longer think of as metaphorical. Metaphors arise because we continually need to stretch the range of words as we accumulate new concepts and abstract relationships. A printed text is not simply a chain of individual words, picked one at a time; it is a whole. It has a structure, but it has meaning for us only if it represents a continuity of our experience of past texts. A text in some strange foreign language set up an abrupt change in our experience, a discontinuity, and we make nothing of it. Given a translator's dictionary we may decipher some of the words and attain some understanding, though this understanding through translation has been achieved by projecting the text onto our own language; that is, we are looking at it with the eyes of our English-speaking culture. A grammar book may help us to decipher the text more thoroughly, and help us comprehend something of the language structure, but we may never fully understand if we are not bred in the culture and society that has modeled and shaped the language. (p. 74)"

- Colin Cherry

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