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Steven Pinker -- How the Mind Works - Hampshire High Italian ...

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The <strong>Mind</strong>'s Eye 263text or graphics. For <strong>the</strong> brain to use <strong>the</strong> contents of <strong>the</strong> 2 l h-D sketch, itmust employ a similar mechanism, indeed, several of <strong>the</strong>m.The simplest reference frame that moves over <strong>the</strong> 2V2-D sketch is onethat stays riveted to <strong>the</strong> head. Thanks to <strong>the</strong> laws of optics, when <strong>the</strong>eyes move right, <strong>the</strong> image of <strong>the</strong> apple scoots left. But suppose <strong>the</strong>neural command to <strong>the</strong> eye muscles is cc'd to <strong>the</strong> visual field, and is usedto shift <strong>the</strong> crosshairs over by <strong>the</strong> same amount in <strong>the</strong> opposite direction.The crosshairs will stay on <strong>the</strong> apple, and so will any mental process thatfunnels information through <strong>the</strong> crosshairs. The process can happilycontinue as if nothing had happened, even though <strong>the</strong> contents of <strong>the</strong>visual field have slid around.Here's a simple demonstration of <strong>the</strong> cc'ing. Move your eyes; <strong>the</strong>world stands still. Now close one eye and nudge <strong>the</strong> o<strong>the</strong>r one with yourfinger; <strong>the</strong> world jumps. In both cases <strong>the</strong> eye moves, and in both cases<strong>the</strong> retinal image moves, but only when <strong>the</strong> eye is moved by a finger doyou see <strong>the</strong> movement. When you move your eyes by deciding to looksomewhere, <strong>the</strong> command to <strong>the</strong> eye muscles is copied to a mechanismthat moves <strong>the</strong> reference frame toge<strong>the</strong>r with <strong>the</strong> sliding images so as tocancel your subjective sense of motion. But when you move your eye bypoking it with your finger, <strong>the</strong> frame-shifter is bypassed, <strong>the</strong> frame is notshifted, and you interpret <strong>the</strong> jerking image as coming from a jerkingworld.There may also be reference frames that compensate for movementsof <strong>the</strong> head and body. They give each bit of surface in <strong>the</strong> visual field afixed address relative to <strong>the</strong> room or relative to <strong>the</strong> ground; <strong>the</strong> addressstays <strong>the</strong> same as <strong>the</strong> body moves. These frame shifts might be driven bycopies of commands to <strong>the</strong> neck and body muscles, though <strong>the</strong>y mayalso be driven by circuitry that tracks <strong>the</strong> slippage of <strong>the</strong> contents of <strong>the</strong>visual field.Ano<strong>the</strong>r handy overlay would be a trapezoidal mental grid that markedout equal-sized extents in <strong>the</strong> world. A gridmark near our feet wouldcover a large stretch of <strong>the</strong> visual field; a gridmark near <strong>the</strong> horizonwould cover a smaller stretch of <strong>the</strong> visual field but <strong>the</strong> same number ofinches as measured along <strong>the</strong> ground. Since <strong>the</strong> 2V2-D sketch containsdepth values at every point, <strong>the</strong> gridmarks would be easy for <strong>the</strong> brain to

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