A simple mathematical model of the brain explains the pattern of murders by a serial killer, say researchers.
On 20 November 1990, Andrei Chikatilo was arrested in Rostov, a Russian state bordering the Ukraine. After nine days in custody, Chikatilo confessed to the murder of 36 girls, boys and women over a 12 year period. He later confessed to a further 20 murders, making him one of the most prolific serial killers in modern history.
Today, Mikhail Simkin and Vwani Roychowdhury at the University of California, Los Angeles, release a mathematical analysis of Chikatilo’s pattern of behaviour. They say the behaviour is well characterised by a power law and that this is exactly what would be expected if Chikatilo’s behaviour is caused by a certain pattern of neuronal firing in the brain.
Their thinking is based on the fundamental behaviour of neurons. When a neuron fires, it cannot fire again until it has recharged, a time known as the refractory period.
Each neuron is connected to thousands of others. Some of these will also be ready to fire and so can be triggered by the first neuron. These in turn will be connected to more neurons and so on. So it’s easy to see how a chain reaction of firings can sweep through the brain if conditions are ripe.
[…]The results are remarkably similar to the distribution of Chikatilo’s real murders and Simkin and Roychowdhury speculate that it would be relatively straightforward to introduce a realistic correction factor that would make the fit closer.
[…]
Interestingly, Simkin and Roychowdhury’s work bares much similarity to other recent work suggesting that the distribution of epileptic fits also follows a power law. The reasoning here is the same too—that patterns of neuronal firing can spread through the brain, like an avalanche, causing a fit in the process.
![A Couple in the Street, 1887 CHARLES ANGRAND
From SEED Magazine:
To answer our most fundamental questions, Science needs to find a place for the Arts.
By Jonah Lehrer
Human eyes are horizontally offset from each other, and the visual system uses that offset to calculate depth. When an object is fixated upon, images are cast on the same place on each retina.
A view with many identical (or similar) objects casts multiple images on the eyes, which can either be correctly matched, giving a flat impression, or mismatched, so one image corresponds to the other, but at a different depth.
I think that the artists from the impressionist and post-impressionist periods figured this out. They said they could paint air and managed to do so by creating false stereopsis cues, which manipulate depth perception. So Angrand’s painting actually looks more three-dimensional when you view the painting with both eyes instead of with a single eye.
—Margaret Livingstone, Neuroscientist, Harvard University
~
In the early 1920s, Niels Bohr was struggling to reimagine the structure of matter. Previous generations of physicists had thought the inner space of an atom looked like a miniature solar system with the atomic nucleus as the sun and the whirring electrons as planets in orbit. This was the classical model.
But Bohr had spent time analyzing the radiation emitted by electrons, and he realized that science needed a new metaphor. The behavior of electrons seemed to defy every conventional explanation. As Bohr said, “When it comes to atoms, language can be used only as in poetry.” Ordinary words couldn’t capture the data.
Bohr had long been fascinated by cubist paintings. As the intellectual historian Arthur Miller notes, he later filled his study with abstract still lifes and enjoyed explaining his interpretation of the art to visitors. For Bohr, the allure of cubism was that it shattered the certainty of the object. The art revealed the fissures in everything, turning the solidity of matter into a surreal blur.
Bohr’s discerning conviction was that the invisible world of the electron was essentially a cubist world. By 1923, de Broglie had already determined that electrons could exist as either particles or waves. What Bohr maintained was that the form they took depended on how you looked at them. Their very nature was a consequence of our observation. This meant that electrons weren’t like little planets at all. Instead, they were like one of Picasso’s deconstructed guitars, a blur of brushstrokes that only made sense once you stared at it. The art that looked so strange was actually telling the truth.
[Read More]
An excellent article on the role of Art in Science.](http://25.media.tumblr.com/tumblr_lxfns7yoe31qaxrh5o1_500.jpg)

