In yesterday’s post, Play and Culture, I discussed how the neurobiological and behavioral aspects of play feed into the production of culture. Play helps integrate the processing and coordination of different brain systems and to produce skilled social and physical engagement with other individuals in the environment. By being able to draw on these evolutionary and embodied precursors, play also helps with the formation of cultural patterns, particularly among children. These cultural patterns—say, a game of Cowboys and Indians—then feedback to shape the coordinated behavior of the individuals involved, from everything to guns vs. arrows and good vs. bad to cultural valuations of indigenous people and gender roles.
In many ways, it sounds like a fairly neat story, at least to me (well, I wrote it, didn’t I?). But the process of cultural production and the ability of cultural forms to then re-engage with people still seems a bit of a black box to me. Biology and behavior don’t quite get us to culture, even if I invoke emotional and motor processing in conjunction with social relationships. It’s too far a jump, because it assumes that all these things just “naturally” come together and somehow produce culture. It also relinquishes too much of “meaning” to culture. Anthropologists have traditionally been quite happy to accept that deal in the mind-body split—we talk about meaning, you guys about neurotransmitters.
Greg and I have both pushed embodiment and practices as a central way to mediate between meaning and neural function. Bringing body, behavior, and organism-environment interactions into the picture certainly is a big help. But in writing the posts on play, I realized that all the talk of “embodied cognition” suffers from the same problem that I talked about in the first post on play. Researchers often assume that the integration of different brain systems happens naturally, without help, without any “outside” process to help it along. I see the same thing happening with embodied cognition.
Continue reading “Play and Embodiment”