Showing posts with label Evolution. Show all posts
Showing posts with label Evolution. Show all posts

Tuesday, December 23, 2025

Are humans unique?

[This text is based on a column 
delivered at SPUI25 on 4 November 2025] 

In The Unique Animal, Rens Bod revisits an age-old philosophical question: what makes us human? His answer is that our uniqueness lies in unbounded recursion—which, according to Bod, is the defining feature that fundamentally distinguishes humans from all other animals. 

Recursion is undoubtedly an elegant notion, with a long and rich intellectual history, which gained renewed momentum in the second half of the twentieth century through, among others, Douglas Hofstadter’s influential book Gödel, Escher, Bach, Mandelbrot’s theory of fractals, and Chomsky’s claim that recursion is the only truly distinctive property of the human language faculty. 

Yet I wish to argue that this very search for uniqueness—for a single capacity that defines us—is a misleading enterprise. However intriguing recursion may be, it does not provide the solid foundation that some believe it does.  

1. The problem of uniqueness 

All animal species are unique. In that sense, we humans are unique as well—but not more so than other animals. Uniqueness is not rare; it is ubiquitous. The attempt to single out one exclusive feature in humans is therefore a peculiar, perhaps even pretentious, endeavor. The history of thought is full of such attempts—from Aristotle’s rational animal to Chomsky’s syntactic animal. But these efforts often reveal more about our desire to draw boundaries than about reality itself. We like to draw a sharp line between “human” and “animal,” while nature rarely complies.  

2. Recursion and its limits 

Recursion is without doubt a fascinating phenomenon, both mathematically and cognitively: the capacity to have thoughts about thoughts and to embed sentences within sentences. In theory, this allows infinite complexity to emerge from finite means—an influential idea.

But empirical reality is far less unbounded. Humans can process only a few levels of embedding—three, at most four—before losing track. In language, we lose the thread after the third subordinate clause; the same applies to reasoning and play. We can still follow that someone is pretending to pretend, but add yet another layer and we are lost. Unbounded recursion therefore does not describe how the human brain actually functions. Rather, it is a theoretical idealization—a concept that helps describe grammars and other hierarchical patterns in behavior, without necessarily contributing to deeper understanding. (The trees of linguistics have more than once prevented us from seeing the forest of our cognitive capacities.)

3. The problem of testability  

This leads to a more fundamental objection: unbounded recursion is not empirically testable. No experiment can demonstrate its existence, let alone falsify it, because every human performance is by definition finite. Nor can it be refuted, since any limitation can always be explained away as a matter of attention or memory. Thus the concept slips from the hands of science and drifts into the realm of metaphysics—into belief in something that may be true, but cannot be proven. For that reason, we must reject the thesis on rational grounds: not out of reluctance, but because a scientific explanation must be testable—or rather, falsifiable. 

4. Beyond the linguistic lens 

There is, moreover, another important factor at play: a widespread and persistent language bias in our thinking—a tendency I have pointed out before and written about elsewhere. Many researchers prefer to view cognitive phenomena through a linguistic lens. Because formal language systems are characterized by recursive structures, it is then often assumed that thought—and thus the human mind—must be recursive in nature. But cognition is more than language. 

Music offers an interesting counterexample. Music also exhibits hierarchical structures—structures characterized by multiple levels of organization, repetition, variation, and symmetry. These properties are not uniquely human: songbirds and various marine mammals structure their vocalizations in ways that show striking similarities to human music and can be regarded as precursors of our musical capacity. Hierarchy, however, is not synonymous with recursion. Although the two concepts are closely related, there is an essential difference: recursion presupposes a hierarchical structure, but a hierarchy need not be recursive.  

5. A different idea of uniqueness 

Perhaps we should therefore abandon the search for a single, exclusive feature and understand uniqueness differently—not as something belonging solely to humans, but as an emergent phenomenon arising from the convergence of multiple capacities. What makes humans special, then, is not one isolated property such as recursion, but a specific combination of components that together form a unique whole. From this perspective, the question shifts from “What do humans have that other animals do not?” to “Which capacities make a species unique?” Our uniqueness is not a single essence, but an evolutionary pattern—a fabric of gradually developed capacities that together form the basis for culture, language, and music.  

Epilogue — in relation to The Arrogant Ape  

In The arrogant ape, Christine Webb dismantles the deeply rooted human tendency to overestimate our own exceptionalism. Humans, she argues, are not the pinnacle of evolution but one species among many—remarkable, yes, but not categorically superior. What Webb calls “arrogance” is precisely the urge critiqued in the column above: the desire to locate one decisive trait that elevates us above all other animals. In short, abandoning the myth of the uniquely gifted human does not diminish us. On the contrary: it situates us more accurately within the living world, as one expressive, musical, meaning-making species among many—remarkable not despite that continuity, but because of it. 

Bod, R. (2025). Het unieke dier: Op zoek naar het specifiek menselijke. Amsterdam: Prometheus.
Webb, C. (2025). De arrogante aap: Waarom we niet zo uniek zijn als we denken. Amsterdam: Atlas Contact.

 See also https://hdl.handle.net/11245.1/e38e36c0-4c95-4f7c-a3fa-5c890f5b5b7f.

Wednesday, June 18, 2025

What do Bach, bipedalism and a baby crying have in common?

Human beings seem to have an innate sense of both rhythm and time, but how much is it biological and how much is it cultural? 

Feel free to join the  BètaBreak on June 20th between 12:00 and 13:30 at Science Park 904, Amsterdam, to explore the relationship between music and time in an interdisciplinary discussion with insights from biology, evolution, musicology and philosophy with speakers from the University of Amsterdam, the University of Liverpool and the University of Oslo! 

Thursday, April 04, 2024

A musical ape?

Music is universal in all human cultures, but why? What gives us the ability to hear sound as music? Are we the only musical species–or was Darwin right when he said every animal with a backbone should be able to perceive, if not enjoy music? 

This episode was written and produced by Ray Pang and Meredith Johnson. Sound design, mixing, and scoring by Ray Pang. The editor is Audrey Quinn. Theme music by Henry Nagle, additional music by Blue Dot Sessions and Lee Roservere. 

Listen to the podcast here.

Saturday, March 16, 2024

Interested in the origins of musicality?

Next week prof. Aniruddh D. Patel will visit the Netherlands to discuss his work on the origins and evolution of musicality, with a public talk at the MPI Colloquium Series in Nijmegen on Tuesday 19 March 2024 and a scientific (invitation-only) workshop on Friday 22 March 2024 in Amsterdam. 

N.B. The public talk can be viewed via MPI's live stream.

Friday, April 15, 2022

Precursors of music and language?

Diagrammatic representation of the comparative approach. It shows a hypothetical phylogenetic tree that illustrates the evolution of several traits that humans may share with monkeys and birds. Filled shapes represent a hypothetical trait (such as vocal learning or beat perception); open shapes indicate the absence of that trait. The position on the phylogenetic tree dates the possible evolutionary origin of such a trait. N.B. Circle: homologous trait, present in human and monkeys, originating from a shared ancestor; Square: an independently evolved trait, similar in humans and birds by convergence.
Language and music are universal human traits, raising the question for their evolutionary origin. In a recent review, co-authored with Carel ten Cate (LU), we take a comparative perspective to address that question.

In the chapter (ten Cate & Honing, in press) we examine similarities and differences between humans and non-human animals (mammals and birds) by addressing whether and which constituent cognitive components that underlie the human ability for language and music can be found in non-human animals. It first provides an introduction to the nature and meaning of vocalizations and non-vocal communicative sounds in non-human animals. Next it reviews experimental and observational evidence of animal perception of various frequency and temporal dimensions of sounds. Many animal species show perceptual and cognitive abilities to distinguish between or to generalize auditory stimuli. This includes evidence of the presence of one or more of the constituent cognitive components on which the human abilities for language and music are based, or that may have served as precursors for these components. At the same time, there are also important differences among animal species in their abilities. Hence contrasts are not limited to those between humans and other animal species.  

We conclude that the differences between humans and other species, as well as those among non-human species, might result from specific biases and the weight or priority certain species give to attending to certain features of an acoustic signal, or because different species use particular mechanisms to different degree.

ten Cate, C. & Honing.H. (2023, in press). Precursors of music and language in animals. In Sammler, D. (ed.), Oxford Handbook of Language and Music. Oxford: Oxford University Press. doi: psyarxiv.com/4zxtr

Thursday, January 28, 2021

Interested in the Evolution of Language and Music?

Last semester we finalized a new edition of the course Evolution of Language and Music. As every year, we closed it off with a student mini-conference. You can find the output of this years online edition here: a website full of blog posts and pitch videos that were made by the participating students.

N.B. The next edition will be held in the Spring of 2022 (See UvA Studiegids).

Monday, August 31, 2015

Evolutionair nut of zinloos tijdverdrijf? [Dutch]



Henkjan Honing (UvA) en Marc Leman (UGent) gaven een lezing in de Handelsbeurs in Gent en gingen daarna met Eos-redacteur Reinout Verbeke in gesprek. Voor meer fragmenten zie YouTube.

Tuesday, July 08, 2014

Do chimps like to listen to African and Indian music?

©2014, Emory University.
This week an interesting study, co-authored by primatologist Frans de Waal, appeared online in the Journal of Experimental Psychology: Animal Learning and Cognition. It was summarized in a Press Release as follows:
“While preferring silence to music from the West, chimpanzees apparently like to listen to the different rhythms of music from Africa and India, according to new research published by the American Psychological Association.” 
While the first part of this summary must be wrong (the study did not present any Western music to chimpanzees, neither did any other study), the study does provide intriguing evidence for a difference in preference between West-African and North Indian music on the one hand, and Japanese taiko music and silence on the other. Chimps apparently prefer the former sounds in their environment over the latter.

The paper is framed as a critical answer to an older study by McDermott and Hauser (2007) that showed nonhuman primates (i.e., cotton-top tamarins and marmosets) to prefer slow tempos and silence over music, but dislike music overall. But are these studies also an indicator of musical preference?

Here Frans de Waal is clear and precise:
“Our objective was not to find a preference for different cultures’ music. We used cultural music from Africa, India and Japan to pinpoint specific acoustic properties. Past research has focused only on Western music and has not addressed the very different acoustic features of non-Western music. While nonhuman primates have previously indicated a preference among music choices, they have consistently chosen silence over the types of music previously tested.” 
So the different stimuli were in fact used to test a sensitivity to a complex of acoustic properties. Because if one would like to test a musical preference, one needs to know what the chimps are listening for. Is it loudness, timbre, melody, rhythm, timing, etc.

Unfortunately the stimuli are not provided online, or described in such a way that the original recordings can be traced, very much against the notion of replicability common in most empirical research. Hence, we can not listen to them for ourselves or run computer algorithms to extract the musical and/or acoustic features for comparison. We have to do with a rather crude characterization of the stimuli (For example, the 'Japanese taiko stimulus' is characterized as atonal, with undefined pitch, and 1 strong beat per 1 weak beat) and guess what the acoustical differences were. Yet another strange detail: some of the music was slowed down artificially, this to bring all stimuli in the same tempo range. A peculiar transformation that humans would readily notice (see earlier entry).

The authors themselves have an intuition on what might have caused the difference. They make the observation that Japanse taiko (like Typical Western music) has a regular beat, and it might be that this regularity is what chimpanzees dislike:
“Chimpanzees may perceive the strong, predictable rhythmic patterns as threatening, as chimpanzee dominance displays commonly incorporate repeated rhythmic sounds such as stomping, clapping and banging objects” 
Sounds reasonable, not?

Well, the experiment was not designed such that it could show that it is indeed the rhythmic structure that these chimps were attending to. In fact, there is no convincing evidence as yet that chimpanzees, or any other nonhuman primate, can actually perceive rhythmic regularity (See earlier entry).

Although it is suggested that apes (as opposed to monkeys) might have some of the neural circuitry that is needed for beat perception (Merchant & Honing, 2014), it has never been shown that any of the great apes can perceive the beat in a rhythmically varying stimulus such as music (See discussion in earlier blogs on the topic of beat induction).

What has been shown, however, is that monkeys can be sensitive to the rhythm structure or rhythmic grouping (cf. Merchant & Honing, 2014). Hence it is more likely that it is the rhythmic structure (or rhythmic grouping) that the chimpanzees use to distinguish between the musical stimuli, instead of perceived regularity: the beat. Nevertheless, it could also be any of those many other features of music that makes the difference for them: dynamic contour, timbre, note density, melodic contour, timing, etc, etc.

[See related item in Dutch newspaper de Volkskrant.]
[See related item in Psychology Today.]

ResearchBlogging.orgMingle, M., Eppley, T., Campbell, M., Hall, K., Horner, V., & de Waal, F. (2014). Chimpanzees Prefer African and Indian Music Over Silence. Journal of Experimental Psychology: Animal Learning and Cognition DOI: 10.1037/xan0000032

ResearchBlogging.orgMerchant, H., & Honing, H. (2014). Are non-human primates capable of rhythmic entrainment? Evidence for the gradual audiomotor evolution hypothesis. Frontiers in Neuroscience, 7 (274) 1-8. DOI: 10.3389/fnins.2013.00274.

ResearchBlogging.orgMcDermott, J., & Hauser, M. (2007). Nonhuman primates prefer slow tempos but dislike music overall Cognition, 104 (3), 654-668 DOI: 10.1016/j.cognition.2006.07.011

Thursday, March 06, 2014

Is er zoiets als efficiënt lummelen? [Dutch]

De afgelopen twee dagen was Tijs Goldschmidt op bezoek in Wassenaar op het Netherlands Institute for Advanced Study (NIAS). We spraken over veel, heel veel zaken. Over lummelen, orka's, roodborstjes, makaken, salsa, seksuele selectie, en nog 111 andere onderwerpen. Als je een indruk wilt krijgen van Tijs' denken, lees dan vooral zijn net gepubliceerde verzameling essays onder de titel Vis in bad - simpelweg bevrijdend.

Hij schrijft hierover: ‘De kloof tussen mens en dier is geforceerd. Ik stoor me eraan dat de mens per definitie boven het dier wordt gesteld. De overgang tussen mens en dier ligt gradueel. Vind ik. Maar soms verander ik even van gedachten.’ Ik word daar, op een of andere manier, heel blij van.

ResearchBlogging.orgGoldschmidt, Tijs (2014). Vis in Bad. Amsterdam: Uitgeverij Athenaeum.

Wednesday, January 15, 2014

Differences in rhythm perception between human and non-human primates

[Press Release University of AmsterdamDespite their genetic proximity, human and non-human primates differ in their capacity for beat induction, which is the ability to perceive a regular pulse in music or auditory stimuli and accordingly align motor skills by way of foot-tapping or dancing.

Also referred to as ‘rhythmic entrainment’, this ability is specific to humans and certain bird species, but is surprisingly enough not obvious in non-human primates. These are the findings of researchers from the University of Amsterdam and the National Autonomous University of Mexico (UNAM), whose new hypothesis, the ‘gradual audiomotor evolution hypothesis’, was recently published in the scientific journal Frontiers in Neuroscience.

Gradual audiomotor evolution hypothesis
The gradual audiomotor evolution hypothesis accommodates the fact that non-human primates’ (i.e., macaques) performance is comparable to humans in single interval tasks such as interval reproduction, categorisation and interception, but show differences in multiple interval tasks such as rhythmic entrainment, synchronisation and continuation. The hypothesis is also in line with the observation that macaques can apparently synchronise in the visual domain, but show less sensitivity in the auditory domain. Finally, while macaques are sensitive to interval-based timing and rhythmic grouping, the absence of strong coupling between the auditory and motor system of non-human primates might explain  why macaques cannot rhythmically entrain in the way humans do.

Timing networks in the primate brain
Functional imaging studies in humans have revealed that the motor cortico-basal ganglia-thalamo-cortical circuit (mCBGT) is not only involved  in sequential and temporal processing, but also in rhythmic behaviours such as music and dance, where auditory modality plays a critical role. The mCBGT circuit, however, seems to be less engaged in audiomotor integration in monkeys than in humans. While in humans different cognitive mechanisms are active for interval-based timing versus beat-based timing, with beat perception being dependent on distinct parts of the timing network in the brain, the anterior prefrontal CBGT and the mCBGT circuits in monkeys might be less viable to multiple interval structures, such as a regular beat.

Recent findings weaken the vocal learning hypothesis
The gradual audiomotor evolution hypothesis is an alternative to the well-known ‘vocal learning hypothesis’, which suggests that only species who can mimic sounds share the ability for  beat induction. Because recent empirical findings have challenged this hypothesis, an alternative was needed. 

Publication details

ResearchBlogging.orgMerchant, H., & Honing, H. (2014; online). Are non-human primates capable of rhythmic entrainment? Evidence for the gradual audiomotor evolution hypothesis. Frontiers in Neuroscience, 7 (274) 1-8. doi 10.3389/fnins.2013.00274

ResearchBlogging.orgHoning, H., & Merchant, H. (in press). Differences in auditory timing between human and non-human primates. Behavioral and Brain Science.

Thursday, October 25, 2012

What's new in Music Cognition and Cognitive Science?

In the latest issue of Topics in Cognitive Science (edited by Martin Rohrmeier and Patrick Rebuschat) Marcus Pearce and Martin Rohrmeier write in the introduction:

"Why should music be of interest to cognitive scientists, and what role does it play in human cognition? We review three factors that make music an important topic for cognitive scientific research. First, music is a universal human trait fulfilling crucial roles in everyday life. Second, music has an important part to play in ontogenetic development and human evolution. Third, appreciating and producing music simultaneously engage many complex perceptual, cognitive, and emotional processes, rendering music an ideal object for studying the mind. We propose an integrated status for music cognition in the Cognitive Sciences and conclude by reviewing challenges and big questions in the field and the way in which these reflect recent developments."

ResearchBlogging.orgPearce M, & Rohrmeier M (2012). Music cognition and the cognitive sciences. Topics in cognitive science, 4 (4), 468-84 PMID: 23060125