Consciousness, perception, behaviour, intelligence, language, motivation, drive, the urge to excel and reasoning of the most complex kind are the product of the extensive and complex linkages between the different parts of the brain.
Likewise, abnormalities attributed to the mind, such as the spectrum of disorders dealt with by psychiatrists and psychologists, are consequences of widespread abnormalities, often in the chemical processes within different parts of the brain.
Jackson suggested that the evolutionary development of the prefrontal cortex is necessary to the emergence of self. In this sense it could be called the organ of mind. However, this is not to say that self resides in the prefrontal cortex.
Rather, the new structure allows a more complex coordination of what is anatomically a sensori-motor machine. He used the terms lowest, middle, and highest centres…as proper names…to indicate evolutionary levels. Ascending levels show increasing integration and coordination of sensorimotor representations.
The highest-level coordination, which allows the greatest voluntary control, depends on prefrontal activity. Self is a manifestation of this highest level of consciousness, which involves doubling. This doubling is established by the reflective capacity that enables one to become aware of individual experience in a way that gives a sense of an inner life. Sherrington addressed function and emphasised the limitations of our means for analysis:.
The physico-chemical produced a unified machine… the psychical, creates from psychical data a percipient, thinking and endeavouring mental individual… they are largely complemental and life brings them co-operatively together at innumerable points… The formal dichotomy of the individual … which our description practiced for the sake of analysis, results in artifacts such as are not in nature… the two schematic members of the puppet pair… require to be integrated… This integration can be thought of as the last and final integration.
Impenetrable, Unentered, unassailed, unharmed, untouched, Immortal, all-arriving, stable, sure, Invisible, ineffable, by word And thought uncompassed, ever all itself, Thus is the Soul declared! Arnold, Socrates — Now do you think one can acquire any particular knowledge of the nature of the soul without knowing the nature of the whole man? Phaedrus — If Hippocrates the Asclepiad is to be trusted, one cannot know the nature of the body, either, except in that way.
I was being mischievous. Where is it? The search for the location of the human soul probably dates back to the awareness of such an entity.
Termed atman by ancient Indian philosophers, psyche by the Greek and anima by the Romans, it has been considered resident within, but distinct from the human body. Many consider it immortal, postulating death to be the consequence of the departure of the soul from the body. Several questions arise when considering the soul.
Here are some examples. When does the soul enter the human body, as the sperm enters the egg or as they fuse into one cell or at a later stage?
Does the soul influence the body, mind and intellect? Is the soul identical with what we term conscience? What happens to the soul during dreams, anaesthesia, trance-like states?
What happens to it after the soul leaves the body? Where and how are acquired characters stored in the nebulous soul? Where, in the body, does the soul reside?
The answer must be in a resounding affirmative. The efforts over millennia to determine the nature and discover the location of the soul have resulted in a better understanding of the wonderful structure and function of man and his place in the cosmos. And if one knows how great is the likeness between bodily and mental diseases, and that both are treated by the same remedies, one cannot help refusing to separate the soul from the body.
Chekhov echoes the question asked by so many over the centuries. Hippocrates concluded that madness originated in the brain. Plato in Timaeus felt that folly was a disease of the soul. Philistion subclassified folly into madness and ignorance Harris, Pythagoras c. The seat of the soul extended from the heart to the brain, passion being located in the heart and reason and intelligence in the brain Prioreschi, Leonardo da Vinci —; see Figure 2 , with his uncanny genius, placed the soul above the optic chiasm in the region of the anterior-inferior third ventricle Santoro et al.
Leonardo depicted the location of the soul at the point where a series of intersecting lines meet Santoro, Though human ingenuity by various inventions with different instruments yields the same end, it will never devise an invention either more beautiful… than does Nature because in her inventions nothing is lacking and nothing superfluous and she… puts there the soul, the composer of the body, that is the soul of the mother which first composes in the womb the shape of man and in due time awakens the soul which is to be its inhabitant Del Maestro, There is a great difference between mind and body, inasmuch as body is by nature always divisible, and the mind is entirely indivisible.
And the faculties of willing, feeling, conceiving, etc. But it is quite otherwise with corporeal or extended objects, for there is not one of them imaginable by me which my mind cannot easily divide into parts.
Descartes localised the soul in the pineal gland as it lay deep within the brain, in the midline and was unpaired [see Figure 4 ]. The pineal gland according to Descartes. Lancisi — agreed that the soul must lie deep within the brain, in the midline and in an unpaired structure, but favoured the corpus callosum, especially the Nervali longitudinales ab anterioribus ad posteriora excurrentes , which are still called the medial longitudinal striae of corpus callosum, or nerves of Lancisi.
He felt that the vital spirits could flow in the fibres of the medial striae. These formed a pathway for the stream of the soul or perhaps consciousness between the anterior part of the corpus callosum and the anterior columns of the fornix and the posterior part of the corpus callosum and the thalami, a sort of connection between the seat of the soul and the peripheral organs, between the soul and the body Di Ieva, Thomas Willis wrote Cerebri Anatome while being a Professor of Natural Philosophy in Oxford, where he used the anatomy of the brain as a tool to investigate the nature of the soul.
Albrecht von Haller — placed the soul in the medulla oblongata Trimble, ; p Bloom commented on the refutation of the dualist view differentiating the body and the soul:. But the question is not really about life in any biological sense. It is instead asking about the magical moment at which a cluster of cells becomes more than a mere physical thing.
It is a question about the soul… It is not a question that scientists could ever answer. The qualities of mental life that we associate with souls are purely corporeal; they emerge from biochemical processes in the brain…. Santoro et al. They concluded that there exist two dominant and, in many respects, incompatible concepts of the soul: one that understands the soul to be spiritual and immortal, and another that understands the soul to be material and mortal.
In both cases, the soul has been described as being located in a specific organ or anatomic structure or as pervading the entire body, and, in some instances, beyond mankind and even beyond the cosmos. Rationalists are doubtful. What do you mean by soul? The brain? Is there not something immortal of or in the human brain — the human mind? Because we do not know what that power is, shall we call it immortal? As well call electricity immortal because we do not know what it is… After death the force or power undoubtedly endures, but it endures in this world, not in the next.
And so with the thing we call life, or the soul — mere speculative terms for a material thing which under given conditions drives this way or that. It too endures in this world, not the other. Because we are as yet unable to understand it, we call it immortal. In , Dr. Duncan MacDougall of Haverhill, Massachusetts, decided to weigh the soul by weighing a human being in the act of death. It seemed to me best to select a patient dying with a disease that produces great exhaustion, the death occurring with little or no muscular movement, because in such a case the beam could be kept more perfectly at balance and any loss occurring readily noted.
He lost weight slowly at the rate of one ounce per hour due to evaporation of moisture in respiration and evaporation of sweat. During all three hours and forty minutes I kept the beam end slightly above balance near the upper limiting bar in order to make the test more decisive if it should come. At the end of three hours and forty minutes he expired and suddenly coincident with death the beam end dropped with an audible stroke hitting against the lower limiting bar and remaining there with no rebound.
The loss was ascertained to be three-fourths of an ounce. It is the belief that when the heart stops beating the soul leaves the body. Something may be learned of the soul by observing the changes in its habitat, the marrow-like brain, at the moment when life ceases. I myself do not believe the soul to be a thing without the brain though I am neither an atheist nor an agnostic. Otto Rank has summed the situation regards the soul well.
He felt that belief in the soul grew out of the need to reassure ourselves of immortality, despite our knowledge of the immutable biological fact of death:. Ramachandran, brain scientist at the University of California, San Diego, is less tactful.
For scientists who are people of faith, like Kenneth R. Miller, a biologist at Brown University, asking about the science of the soul is pointless, in a way, because it is not a subject science can address. If we accept the existence of the soul and its localisation in the brain, we must focus on the brainstem. Christopher Pallis , discussing the definition of whole-brain death, provided a modern concept of the soul.
We do not have too much intellect and too little soul, but too little intellect in matters of soul. Perhaps, we shall eventually come to conclusions similar to those reached by Sir Thomas Browne 19 October, —19 October, in his most famous work, the Religio Medici :.
The mind and the soul remain fascinating enigmas. Whilst we have made some progress in our understanding of these two hazy constituents of life, much is as yet poorly understood. Religious scholars ask us scientists to desist from any attempt at studying the soul.
Hindu philosophers tell us that the soul of a person who has attained moksha liberation from the cycle of re-birth unites with God. The soul has often been termed the God within each of us. Take a now infamous interview in the UK, where journalist Jeremy Paxman interviewed the politician Michael Howard pictured below.
He repeatedly asks Howard whether he "threatened to overrule" the then prisons governor. Howard in turn, continues to evade the question with other facts in a bizarre exchange that becomes increasingly awkward to watch. Not many of us are comfortable challenging someone in that way. Paltering is a common negotiation tactic Credit: BBC. While it's common in politics, so too is it in everyday life. Consider the estate agent who tells a potential buyer that an unpopular property has had "lots of enquiries" when asked how many actual bids there have been.
Or the used car salesman who says a car started up extremely well on a frosty morning, without disclosing that it broke down the week before. Both statements are true but mask the reality of the unpopular property and the dodgy car.
Paltering is perhaps so commonplace because it is seen as a useful tool. It happens because we constantly have so many competing goals, suggests Rogers. We can see the problems this sort of thinking can cause reflected in society today. The public are clearly sick of being lied to and trust in politicians is plummeting. One poll found that the British public trust politicians less than estate agents, bankers and journalists.
And despite the fact that we now frequently expect lies from those in power, it remains challenging to spot them in real time, especially so if they lie by paltering. Psychologist Robert Feldman, author of The Liar in Your Life, sees this as worrying both on a personal and on a macro level. That absence renders the skillfulness of the arrangement thanks to Jon Brion hollow.
Springsteen should write more theme songs for movies. This one has great atmosphere, along with tension and texture added by percussion and a wicked scratch-guitar riff.
A song about love between two worlds — between a Western soldier and a local woman — during wartime. Tape loops, Qawwali singing, and Arabic rhythms open the track, which then expands to layer a rock melody on top. Springsteen has a lot of songs about love and relationships viewed through less than rose-colored lenses, but this one feels like it has shadows in unexpected places, which is of course why it was an outtake. This is phenomenal political commentary.
He might as well have hid it under a rock. And that giggle at the fadeout! It was inspired by Inherit the Wind , although Springsteen took the story in an entirely different direction. That said, something almost a touch too slick here takes away from the intended earnestness.
Fittingly enough, it captures the thoughts running through the mind of a man about to get married for the second time. More rockabilly fun, recorded at home post- Nebraska. It would be a great Nick Lowe song. With such dubious religious imagery, the overall concept is fine but not memorable. Seems a bit extreme for just parole violation, if you ask me. The instrumentation is also absolutely stellar.
Bittan and Federici drive this thing, and Danny powers through the last 30 seconds with an ethereal, stunning riff. Put on your headphones for this one. A pleasing little doo-wop-inspired ditty, recorded by the temporarily reunited E Street Band in , when Springsteen got the band back together to record a track or two for his greatest-hits album.
Jangly and frenetic, this is a song you could dance to in the rec room. Plus, he successfully addresses the subject that dodged him for quite some time: healthy adult relationships. After all, Springsteen wrote the song to poke fun at the kinds of things written about him in the gossip sections.
On tour, however, it transformed into a political statement about the L. Give a good listen to the earnest and hopeful vocals, underpinned by bright piano and baritone sax as the E Street Band sings backing vocals, with those party noises on the bridge. If the song had actually made it onto Darkness , one would hope that Springsteen planned to cut the Jimmy Iovine line.
Springsteen directly holds accountable those that sent them there. This mournful and dramatic outtake has the dubious distinction of being a song that Springsteen completely forgot. When he was putting the box set together, he asked around for some suggestions, and a friend gave him a tape with the song on it. Sultry and heated, this underrated song should have been used for something, even if it never fit on Darkness.
Take note of the maracas and those beautiful little flourishes from Bittan on the piano. Springsteen has only played it live once, in Madrid. The horn line alone is life-affirming. This is that, but set to a properly countrified tale of actual evil villains.
An affectionate, piano-drenched love letter to a distant love. He opens the record with this problem statement: Despite everything that might follow, love still eludes him. The last verse is deliberately left open to interpretation, which amplifies the impact of the rest of the song.
A wistful, spirited remembrance of the Jersey Shore club scene. How else would you describe this exaggerated, knee-slapping, electronic folk number? Musical highlights include a gorgeous sax solo from Jake Clemons that his uncle would be proud of and Roy Bittan on the glockenspiel in homage to Danny Federici.
On the other hand, the echo on the chorus is both out of context and jarring. Springsteen invokes Wild Billy and two kids running away to join the circus, over a quiet acoustic background, with an ethereal chorus against a fairground calliope until fadeout.
Danny was the longest tenured member of the E Street Band — he stuck with Bruce through the thin times, the bad times, and the good times — so the analogy could not be more heartbreakingly apt. His voice and guitar share a gentle melody through the first verse and chorus, but a minute in, as we reach the second verse, the strings coast in from behind and the acceleration expands in the verses and choruses to follow.
The guitar duel between Springsteen and Tom Morello is the most interesting part, to be honest. I wish Danny Federici was still with us to hear what he would have done with it — all props to Charles Giordano for stepping into those shoes. Springsteen approaches the first Gulf War and Los Angeles gang wars with a dark, haunting melody, using low chords, slide, and a deep blues harmonica to tell a tale of harsh reality and grim choices.
The melody sounds like the rhythm of a freight train. Like that book, the song shows rather than tells. A sexy, fun little number with a backbeat you can dance to. Bonus points for not sounding overproduced or mechanical, like so many of the other songs on this record.
The strings are expressive and expansive, but Springsteen has a surprise for us on the bridge, when the horns swoop in and the entire loping, triumphant melody could easily fit in a John Ford Western. This country-and-western-flavored track is the artful conclusion to a record full of longing and unanswered questions. Yet another song written from the perspective of the veteran, this time from the second Iraq war.
So much lost potential. How did this get left behind? It works because he genuinely means it. And he tells this story in a delightfully jangly, string strummed anthem courtesy of Little Steven Van Zandt. The breakdown at the end is textbook, classic E Street: sax solo, handclaps, la la la las , cymbal crashes, piano chords raining down. For a kid from New Jersey, Springsteen understood the city as well as any native son, but he also had the blessing of not taking the place for granted.
He saw the details that locals overlook after a while. The story goes a little something like this: One night during the Born in the U. He was trying to capture the ability to make his audience laugh, an element he admired in his favorite performers, like Little Richard or Jerry Lee Lewis.
Springsteen revisits the song he gave to Southside Johnny in With this version included, Darkness becomes a completely different album. An evocative, solid rave-up. Not all homecoming songs are about triumph. His vocals are laid bare, nothing buried in the tune, his voice on the edge of anguish. It sounds ancient, as if it has always existed. It sounds like it was written decades ago.
It is a more immediately recognizable Springsteen song while still being sonically fresh, even if what Bruce is doing here is his best Jimmy Webb interpretation which is not a bad thing!
The song has an infectious backbeat, and Bruce relishes the challenge of singing with another strong vocalist. A delightful classic rockabilly romp from end to end. Springsteen shouts and screams and testifies with great driving percussion behind him, as guitars play in keys matching the organ. Underrated and overlooked. The keyboards and fingerpicking are so deep and buried, you feel them more than you hear them. Bruce realizing his Brian Wilson fantasies and cribbing from Jagger and Richards in tribute.
Rose of Lima. The house is gone, but the tree still stands. Bruce Springsteen absolutely, genuinely loves Halloween. Here, Bruce manages to combine both Halloween and New Jersey legends — the Jersey Devil is basically a Satanic Bigfoot — running his vocals through distortion and a bullet mic over a stop-time blues beat. Plus, how many rock songs mention Viagra so brazenly? The melody is evocative, broad as a western landscape; the vocal delivery full of weary frustration and underscored by highly satisfying gigantic guitar chords that sound like thunder and lighting.
The track features gently loping acoustic guitar, layered with accordion and the most soothing vocals, like a mountain stream. Springsteen learned so much from Elvis Presley, including what not to do.
With a strong assist from Chuck Berry, the Boss pays tribute to the King with this simple, pointed, almost-rockabilly track. He initially recorded the demo with a drum machine and could have re-recorded it with real drums at any point, yet chose not to. If you ever go to Memphis, play it right as you turn onto Elvis Presley Boulevard on your way to Graceland.
It is timeless in the best way, glorious and soul affirming. The idea of using music as a form of prayer is a beautiful sentiment. An awful lot of gambling metaphors set against a standard rock melody. A strong, straightforward anthem. Springsteen minces no words with this one, though it loses a few points for extraneous electronic effects and textures that add nothing to the composition.
An optimistic track, both lyrically and musically. First, an early rockabilly version was cut early in the —81 recording sessions that led up to The River. The River version is just a straight-ahead rocker, so it fits better with the record overall, but the rockabilly version absolutely has more depth.
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