Communication for collaborative computation: two major transitions in human evolution

This paper presents and defends the following theoretical arguments: (1) The uniqueness of the human condition lies in the fact that only humans engage in collaborative computation, where different individuals work together on shared computational challenges. Collaborative computation is the foundation of our cumulative cultures. (2) Collaborative computation requires individuals to engage in instructive communication, where senders do not just send messages to receivers-but also send them instructions that the receivers are obliged to follow in the course of computing the messages. (3) The process of human evolution was driven throughout by the invention and development of tools of instructive communication. (4) In this process, two separate major transitions should be identified. The first was made possible by the toolkit of representational gestures (pointing, eye contact, manual demonstration, pantomime and more) that Merlin Donald called the toolkit of mimesis. Mimesis allows for collaborative computation as long as the information requiring computation is available for direct experiencing by the participants. The second was made possible by language, the tool that allowed its users, for the first time, to engage in collaborative computations of information they did not experience together-through the systematic instruction of the mental computations of imagination. This article is part of the theme issue 'Human socio-cultural evolution in light of evolutionary transitions'.

Estimation of Fast and Slow Adaptions in the Tactile Sensation of Mechanoreceptors Mimicked by Hybrid Fluid (HF) Rubber with Equivalent Electric Circuits and Properties

In order to advance engineering applications of robotics such as wearable health-monitoring devices, humanoid robots, etc., it is essential to investigate the tactile sensations of artificial haptic sensors mimicking bioinspired human cutaneous mechanoreceptors such as free nerve endings, Merkel's cells, Krause end bulbs, Meissner corpuscles, Ruffini endings, and Pacinian corpuscles. The generated receptor's potential response to extraneous stimuli, categorized as slow adaption (SA) or fast adaption (FA), is particularly significant as a typical property. The present study addressed the estimation of SA and FA by utilizing morphologically fabricated mechanoreceptors made of our proposed magnetically responsive intelligent fluid, hybrid fluid (HF), and by applying our proposed electrolytic polymerization. Electric circuit models of the mechanoreceptors were generated using experimental data on capacitance and inductance on the basis of the electric characteristics of impedance. The present results regarding equivalent firing rates based on FA and SA are consistent with the FA and SA findings of vital mechanoreceptors by biomedical analysis. The present investigative process is useful to clarify the time of response to a force on the fabricated artificial mechanoreceptor.

Morphological Configuration of Sensory Biomedical Receptors Based on Structures Integrated by Electric Circuits and Utilizing Magnetic-Responsive Hybrid Fluid (HF)

Biomedical receptors such as cutaneous receptors or intelligent cells with tactile, auditory, gustatory, and olfactory sensations function in the five senses of the human body. Investigations focusing on the configuration of such receptors are useful in the fields of robotics and sensors in the food industry, among others, which involve artificial organs or sensory machines. In the present study, we aimed to produce the receptors for four senses (excepting vision) by morphologically mimicking virtual human ones. The mimicked receptors were categorized into eight types of configured structure. Our proposed magnetic-responsive hybrid fluid (HF) in elastic and soft rubber and proposed electrolytic polymerization technique gave the solidified HF rubber electric characteristics of piezoelectricity and piezo-capacity, among others. On the basis of these electric characteristics, the mimicked receptors were configured in various types of electric circuits. Through experimental estimation of mechanical force, vibration, thermal, auditory, gustatory, and olfactory responses of each receptor, the optimum function of each was specified by comparison with the actual sensations of the receptors. The effect of hairs fabricated in the receptors was also clarified to viably reproduce the distinctive functions of these sensations.

Artificial Tongue Embedded with Conceptual Receptor for Rubber Gustatory Sensor by Electrolytic Polymerization Technique with Utilizing Hybrid Fluid (HF)

The development of gustatory sensors is essential for the development of smart materials for use in robotics, and in the food, beverage, and pharmaceutical industries. We therefore designed a prototype of a rubber tongue embedded with a gustatory receptor mimicking a human tongue using our previously proposed hybrid fluid rubber (HF rubber) and an electrolytic polymerization technique. The fabricated gustatory receptor was composed of Pacinian corpuscles, which are well known and have already been elucidated as effective haptic and auditory receptors in previous studies. Moreover, the receptor has self-powered voltage generated as built-in electricity as a result of the ionized particles and molecules in the HF rubber. The utilization of a layered structure for the Pacinian corpuscles induced a typical response not only to normal and shear forces but to thermal variations. Typical gustatory characteristics, including the initial response voltage and the cyclic voltammogram form, were clearly varied by five tastes: saltiness, sourness, sweetness, bitterness, and umami. These results were due to ORP, pH, and conductivity.

Morphological Fabrication of Equilibrium and Auditory Sensors through Electrolytic Polymerization on Hybrid Fluid Rubber (HF Rubber) for Smart Materials of Robotics

The development of auditory sensors and systems is essential in smart materials of robotics and is placed at the strategic category of mutual communication between humans and robots. We designed prototypes of the rubber-made equilibrium and auditory sensors, mimicking hair cells in the saccule and the cochlea at the vestibule of the human ear by utilizing our previously proposed technique of electrolytic polymerization on the hybrid fluid rubber (HF rubber). The fabricated artificial hair cells embedded with mimicked free nerve endings and Pacinian corpuscles, which are well-known receptors in the human skin and have already been elucidated effective in the previous study, have the intelligence of equilibrium and auditory sensing. Moreover, they have a voltage that is generated from built-in electricity caused by the ionized particles and molecules in the HF rubber due to piezoelectricity. We verified the equilibrium and auditory characteristics by measuring the changes in voltage with inclination, vibration over a wide frequency range, and sound waves. We elucidated experimentally that the intelligence has optimum morphological conditions. This work has the possibility of advancing the novel technology of state-of-the-art social robotics.

Affect, Belief, and the Arts

The cultural project is a therapeutic melding of emotion, symbols, and knowledge. In this paper, I describe how spiritual emotions engendered through encounters in imaginative culture enable fixation of metaphysical beliefs. Evolved affective systems are domesticated through the social practices of imaginative culture so as to adapt people to live in culturally defined cooperative groups. Conditioning, as well as tertiary-level cognitive capacities such as symbols and language are enlisted to bond groups through the imaginative formats of myth and participatory ritual. These cultural materializations can be shared by communities both synchronically and diachronically in works of art. Art is thus a form of self-knowledge that equips us with a motivated understanding of ourselves in the world. In the sacred state produced through the arts and in religious acts, the sense of meaning becomes noetically distinct because affect infuses the experience of immanence, and one's memory of it, with salience. The quality imbued thereby makes humans attentive to subtle signs and broad “truths.” Saturated by emotions and the experience of alterity in the immanent encounter of imaginative culture, information made salient in the sacred experience can become the basis for belief fixation. Using examples drawn from mimetic arts and arts of immanence, I put forward a theory about how sensible affective knowledge is mediated through affective systems, direct perception, and the imagination.

Mimetic Self-Reflexivity and Intersubjectivity in Complementary and Alternative Medicine Practices: The Mirror Neuron System in Breast Cancer Survivorship

This study examines complementary and alternative medicine (CAM) providers' practices in the treatment of their breast cancer survivor (BCS) clients and interprets these practices within the context of existing neuroscientific research on the mirror neuron system (MNS). Purposive and snowball sampling was conducted to recruit CAM providers (N = 15) treating BCSs from integrative medicine centers, educational institutions, private practices, and professional medical associations across the United States. In-depth semi-structured interviewing (N = 252 single-spaced pages) and inductive qualitative content analysis reveal CAM therapeutic practices emphasize a diachronic form of mimetic self-reflexivity and a serendipitous form of mimetic intersubjectivity in BCS pain management to allow the providers to tune-in to their clients' internal states over time and experience themselves as an embodied subject in an imaginative, shared space. By employing imagination and an intentional vulnerability in their embodied simulation of the others' internal states, CAM providers co-create experiences of pain while recognizing what about the other remains an unknown. Although MNs provide the mechanism for imitation and simulation underlying empathy through a neuronally wired grasp of the other's intentionality, the study suggests that examining mimetic self-reflexivity and intersubjectivity in the therapeutic space may allow for a shared simulation of participants' subjective experiences of pain and potentially inform research on self-recognition and self-other discrimination as an index of self-awareness which implicates the MNS in embodied social cognition in imaginative ways.

Morphological Fabrication of Rubber Cutaneous Receptors Embedded in a Stretchable Skin-Mimicking Human Tissue by the Utilization of Hybrid Fluid

Sensors are essential in the haptic technology of soft robotics, which includes the technology of humanoids. Haptic sensors can be simulated by the mimetic organ of perceptual cells in the human body. However, there has been little research on the morphological fabrication of cutaneous receptors embedded in a human skin tissue utilizing artificial materials. In the present study, we fabricated artificial, cell-like cutaneous receptors embedded in skin tissue mimicking human skin structure by utilizing rubber. We addressed the fabrication of five cutaneous receptors (free nerve endings, Krause and bulbs, Meissner corpuscles, Pacinian corpuscles and Ruffini endings). In addition, we investigated the effectiveness of the fabricated tissue for mechanical and thermal sensing. At first, in the production of integrated artificial skin tissue, we proposed a novel magnetic, responsive, intelligent, hybrid fluid (HF), which is suitable for developing the hybrid rubber skin. Secondly, we presented the fabrication by utilizing not only the HF rubber but our previously proposed rubber vulcanization and adhesion techniques with electrolytic polymerization. Thirdly, we conducted a mechanical and thermal sensing touch experiment with the finger. As a result, it demonstrated that intelligence as a mechanoreceptor or thermoreceptor depends on its fabric: the HF rubber sensor mimicked Krause and bulbs has the thermal and pressing sensibility, and the one mimicked Ruffini endings the shearing sensibility.

Pantomimic fossils in modern human communication

Bodily mimesis, the capacity to use the body representationally, was one of the key innovations that allowed early humans to go beyond the 'baseline' of generalized ape communication and cognition. We argue that the original human-specific communication afforded by bodily mimesis was based on signs that involve three entities: an expression that represents an object (i.e. communicated content) for an interpreter. We further propose that the core component of this communication, pantomime, was able to transmit referential information that was not limited to select semantic domains or the 'here-and-now', by means of motivated-most importantly iconic-signs. Pressures for expressivity and economy then led to conventionalization of signs and a growth of linguistic characteristics: semiotic systematicity and combinatorial expression. Despite these developments, both naturalistic and experimental data suggest that the system of pantomime did not disappear and is actively used by modern humans. Its contemporary manifestations, or pantomimic fossils, emerge when language cannot be used, for instance when people do not share a common language, or in situations where the use of (spoken) language is difficult, impossible or forbidden. Under such circumstances, people bootstrap communication by means of pantomime and, when these circumstances persist, newly emergent pantomimic communication becomes increasingly language-like. This article is part of the theme issue 'Reconstructing prehistoric languages'.

Aristotle's dream: Evolutionary and neural aspects of aesthetic communication in the arts

Art in general perception is something that transcends our notion of reality. In view of the earliest findings in Paleolithic sites, their abstract appearance and sometimes ceremonial context increased their status of a secret language. Even the first figurative cave paintings remained in a context of an encoded semantic whole. The highly symbolic value of art seemed invulnerable. It was just the claim for "mimesis" in Greek antiquity (Plato) that urged artists to "realistically" depict what can be seen-as to stay in track of eternal messages behind. This devaluated the artistic oeuvre to a purely imitating craft and had to overcome at once several inherent obstacles. First, that reality (the phenomenal world) is in general only a pale reflection of what lays behind (Platonic ideas) and second, that the human eye, unlike the human mind, cannot penetrate to more than ephemeral impressions. Moreover, it mixed up reality with what we are able to see (i.e. visual perception), thus supposing a pinpoint representation of the world by our senses. Aristotle was the first to qualify art as picturing more than we usually are meant to see, filling the gap between the sensual and the spiritual world. Aristotelian aesthetics includes concepts of reduction and selection of composition and emotion, thus a summarized view within any performance of poetics or painting. And it took centuries to close the gap between natural and aesthetic perception or art. Life sciences in the 20th century discovered the evolutionary basis of sensory perception as being highly biased and organized, concept as emotion-driven and thus, mentally equipped as well. This sets a new approach in our understanding of perception, art, and aesthetics as an ongoing communication in process on common bases. Art may cooperate or disagree, but never can cut the nexus with its perceptual prejudices and substrate.

Demonstration and Pantomime in the Evolution of Teaching

Donald proposes that early Homo evolved mimesis as a new form of cognition. This article investigates the mimesis hypothesis in relation to the evolution of teaching. The fundamental capacities that distinguish hominin teaching from that of other animals are demonstration and pantomime. A conceptual analysis of the instructional and communicative functions of demonstration and pantomime is presented. Archaeological evidence that demonstration was used for transmitting the Oldowan technology is summarized. It is argued that pantomime develops out of demonstration so that the primary objective of pantomime is that the onlooker learns the motoric patterns shown in the pantomime. The communicative use of pantomime is judged to be secondary. This use of pantomime is also contrasted with other forms of gestures. A key feature of the analysis is that the meaning of a pantomime is characterized by the force patterns of the movements. These force patterns form the core of a model of the cognitive mechanism behind pantomime. Finally, the role of pantomime in the evolution of language is also discussed.

A hypothesis to explain accuracy of wasp resemblances

Mimicry is one of the oldest concepts in biology, but it still presents many puzzles and continues to be widely debated. Simulation of wasps with a yellow‐black abdominal pattern by other insects (commonly called “wasp mimicry”) is traditionally considered a case of resemblance of unprofitable by profitable prey causing educated predators to avoid models and mimics to the advantage of both (Figure 1a). However, as wasps themselves are predators of insects, wasp mimicry can also be seen as a case of resemblance to one's own potential antagonist. We here propose an additional hypothesis to Batesian and Müllerian mimicry (both typically involving selection by learning vertebrate predators; cf. Table 1) that reflects another possible scenario for the evolution of multifold and in particular very accurate resemblances to wasps: an innate, visual inhibition of aggression among look‐alike wasps, based on their social organization and high abundance. We argue that wasp species resembling each other need not only be Müllerian mutualists and that other insects resembling wasps need not only be Batesian mimics, but an innate ability of wasps to recognize each other during hunting is the driver in the evolution of a distinct kind of masquerade, in which model, mimic, and selecting agent belong to one or several species (Figure  1b). Wasp mimics resemble wasps not (only) to be mistaken by educated predators but rather, or in addition, to escape attack from their wasp models. Within a given ecosystem, there will be selection pressures leading to masquerade driven by wasps and/or to mimicry driven by other predators that have to learn to avoid them. Different pressures by guilds of these two types of selective agents could explain the widely differing fidelity with respect to the models in assemblages of yellow jackets and yellow jacket look‐alikes.