A Quote by Floyd Skloot
My cerebral cortex, the gray matter that MIT neuroscientist Steven Pinker likens to 'a large sheet of two-dimensional tissue that has been wadded up to fit inside the spherical skull,' is riddled instead of whole.
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Everybody goes into different dimensional planes. You do it every night when you dream. You are journeying into other dimensional planes. Dreams are not just functions of the cerebral cortex.
The brain sits snugly inside the skull, but it's not a completely flush fit - there is still a layer of fluid between bone and soft tissue that serves as a natural shock absorber. Some shocks, however, can't be absorbed, and when the head gets clobbered too hard, the brain can twist or torque or rattle around inside its skeletal casing.
The relative importance of the white and gray matter is often misunderstood. Were it not for the manifold connection of the nerve cells in the cortex by the tens of millions of fibres which make up the under-estimated white matter, such a brain would be useless as a telephone or telegraph station with all the interconnecting wires destroyed.
Our universe - it's three-dimensional, but we can pretend it's two-dimensional so it's like this sheet of paper - and we live in Pasadena over here and London is over there, and it's thousands of miles from Pasadena to London.
So, you can define emotions very simply as the process of perceiving what is going on in the organs when you are in the throws of an emotion, and that is achieved by a collection of structures, some of which are in the brain stem, and some of which are in the cerebral cortex, namely the insular cortex, which I like to mention not because I think it's the most important, it's not.
Words are a big deal to me. I'm verbal and visual and I'm always struggling to find a way to smash those two parts of my cerebral cortex together. Sometimes it works, sometimes it feels mentally disjunctive.
I think not in two or three dimensional terms but in five dimensional terms when I consider a novel. There's height, width, and depth, there's the time factor, and then there's the factor which I call the cerebral factor of the reader, the way the reader adjusts to all the other dimensions, which is the fifth dimension.
Film is a two dimensional thing - it goes up and down and left to right but if you put that music into that two dimensional medium, it became like a third, fourth, and fifth dimension, I really believe in that.
We live in the Age of the Higher Brain, the cerebral cortex that has grown enormously over the last few millennia, overshadowing the ancient, instinctive lower brain. The cortex is often called the new brain, yet the old brain held sway in humans for millions of years, as it does today in most living things. The old brain can't conjure up ideas or read. But it does possess the power to feel and, above all, to be. It was the old brain that caused our forebears to sense the closeness of a mysterious presence everywhere in Nature.
I sank back in the gray, plush seat and closed my eyes. The air of the bell jar wadded round me and I couldn't stir.
Along with our many human propensities, we evolved a huge cerebral cortex with which we make decisions.
My fascination has been the space between cloth and the body, and using a two-dimensional element to clothe a three-dimensional form.
Two factors explain our success. One, MIT's renaissance after World War II as a federally supported research resource. Two, the mathematical revolution in macro- and micro-economic theory and statistics. This was overdue and inevitable, MIT was the logical place for it to flourish.
I have an agent, John Brockman, who is an agent to many academic authors like Dan Gilbert and Steven Pinker, and he's very good at conning academics into writing books. He pulled this trick on me.
I regret that it has been necessary for me in this lecture to administer a large dose of four-dimensional geometry. I do not apologize, because I am really not responsible for the fact that nature in its most fundamental aspect is four-dimensional. Things are what they are.
With any television series - and it's something that is taken for granted with movies because you have the whole arc within two hours - you establish who the character is and it's a two-dimensional version, or if you're lucky, a two and a half-dimensional character. Once you establish that, you can move forward and break all the rules. Once the audience has accepted who the person is, then you can do the exact opposite. What makes it funny and interesting is doing the opposite.
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