Speech and writing are our two most fundamental forms of communication yet, while we’re extraordinarily good at them, they remain an ever-mystifying frontier of intellectual inquiry. We’ve previously looked at how sounds evolved into shapes, 5 essential books on language, and 7 must-reads on music and the brain. Now, from evolutionary neuroscientist Mark Changizi, comes compelling new evidence to unite these three domains of fascination. In Harnessed: How Language and Music Mimicked Nature and Transformed Ape to Man (public library), Changizi explores the evolution of language and music as they came to separate us from our primate ancestors.

He writes in Wired UK:

Our brain’s tight fit to writing and speech is not because we evolved by natural selection to read or comprehend speech, but, rather, because the structure of writing and speech culturally evolved to fit our brain…by looking and sounding like nature, just what our brains can brilliantly process. I call this nature-harnessing — that’s the secret sauce.

Changizi builds on his previous research for the excellent Vision Revolution and psycholinguist Steven Pinker’s work in The Language Instinct to examine how it’s possible that we appear to be designed to read, yet we have no actual reading “instinct.” He writes:

The answer is that, rather than our brains being designed for reading, reading is designed for our brains. Writing is a technology that has been optimized over time by the forces of cultural selection to be good for our visual system. We have no reading instinct. Instead, writing has a brain instinct (i.e., is designed for the brain), something neuroscientist Stanislav Dehaene calls “neuronal recycling.”

Curiously, in the majority of our interaction with the world, we seem to mimic the sounds of events among solid objects. Solid-object events are comprised of hits, slides and rings, producing periodic vibrations. Every time we speak, we find the same three fundamental auditory constituents in speech: plosives (hit-sounds like t, d and p), fricatives (slide-sounds like f, v and sh), and sonorants (ring-sounds like a, u, w, r and y). Changizi demonstrates that solid-object events have distinct “grammar” recurring in speech patterns across different languages and time periods.

But it gets even more interesting with music, a phenomenon perceived as a quintessential human invention — Changizi draws on a wealth of evidence indicating that music is actually based on natural sounds and sound patterns dating back to the beginning of time. Bonus points for convincingly debunking Steven Pinker’s now-legendary proclamation that music is nothing more than “auditory cheesecake.”

Ultimately, Harnessed shows that both speech and music evolved in culture to be simulacra of nature, making our brains’ penchant for these skills appear intuitive. Perhaps most interesting of all is what this might suggest about our evolving communication diets as we contemplate the future of information and the Internet and ponder what the web is doing to our brains — are these media, nascent in evolutionary terms, evolving as simulacra of nature as well, or are they taxing our brains with unnatural and counterintuitive mechanisms that make for impossible cognitive loads?