Uncovering the brains biggest secret Melanie E. Peffer

In the late 1860s, scientists believed
they were on the verge

of uncovering the brain’s biggest secret.

They already knew the brain controlled
the body through electrical impulses.

The question was, how did these signals
travel through the body

without changing or degrading?

It seemed that perfectly transmitting
these impulses

would require them to travel uninterrupted
along some kind of tissue.

This idea, called reticular theory,

imagined the nervous system
as a massive web of tissue

that physically connected
every nerve cell in the body.

Reticular theory captivated the field
with its elegant simplicity.

But soon, a young artist would cut through
this conjecture,

and sketch a bold new vision
of how our brains work.

60 years before reticular theory was born,

developments in microscope technology

revealed cells to be the building blocks
of organic tissue.

This finding was revolutionary,

but early microscopes struggled
to provide additional details.

The technology was especially challenging
for researchers studying the brain.

Soft nervous tissue was
delicate and difficult to work with.

And even when researchers were able
to get it under the microscope,

the tissue was so densely packed
it was impossible to see much.

To improve their view,

scientists began experimenting
with special staining techniques

designed to provide clarity
through contrast.

The most effective came courtesy
of Camillo Golgi in 1873.

First, Golgi hardened the brain tissue
with potassium bichromate

to prevent cells from deforming
during handling.

Then he doused the tissue
in silver nitrate,

which visibly accumulated in nerve cells.

Known as the “black reaction,”

Golgi’s Method finally allowed researchers
to see the entire cell body

of what would later be named the neuron.

The stain even highlighted
the fibrous branches

that shot off from the cell
in different directions.

Images of these branches
became hazy at the ends,

making it difficult to determine exactly
how they fit into the larger network.

But Golgi concluded that these
branches connected,

forming a web of tissue comprising
the entire nervous system.

14 years later, a young scientist
and aspiring artist

named Santiago Ramón y Cajal
began to build on Golgi’s work.

While writing a book
about microscopic imaging,

he came across a picture of a cell
treated with Golgi’s stain.

Cajal was in awe of its exquisite detail—
both as a scientist and an artist.

He soon set out to improve
Golgi’s stain even further

and create more detailed references
for his artwork.

By staining the tissue twice
in a specific time frame,

Cajal found he could stain a greater
number of neurons with better resolution.

And what these new slides revealed
would upend reticular theory—

the branches reaching out
from each nerve cell

were not physically connected
to any other tissue.

So how were these individual cells
transmitting electrical signals?

By studying and sketching
them countless times,

Cajal developed a bold, new hypothesis.

Instead of electrical signals traveling
uninterrupted across a network of fibers,

he proposed that signals were somehow
jumping from cell to cell

in a linear chain of activation.

The idea that electrical signals could
travel this way was completely unheard of

when Cajal proposed it in 1889.

However his massive collection of drawings
supported his hypothesis from every angle.

And in the mid-1900s, electron microscopy
further supported this idea

by revealing a membrane
around each nerve cell

keeping it separate from its neighbors.

This formed the basis
of the “neuron doctrine,”

which proposed the brain’s tissue
was made up of many discrete cells,

instead of one connected tissue.

The neuron doctrine laid the foundation
for modern neuroscience,

and allowed later researchers to discover
that electrical impulses

are constantly converted between
chemical and electrical signals

as they travel from neuron to neuron.

Both Golgi and Cajal received
the Nobel Prize

for their separate,
but shared discoveries,

and researchers still apply
their theories and methods today.

In this way, their legacies remain
connected as discrete elements

in a vast network of knowledge.

在 1860 年代后期,科学家们相信
他们

即将揭开大脑最大的秘密。

他们已经知道大脑
通过电脉冲控制身体。

问题是,这些信号如何

不改变或降解的情况下穿过身体?

似乎要完美地传递
这些脉冲,

就需要它们
沿着某种组织不间断地传播。

这个被称为网状理论的想法

将神经系统想象
成一个巨大的组织网

,将
身体中的每个神经细胞物理连接起来。

网状理论
以其优雅的简洁性吸引了该领域。

但很快,一位年轻的艺术家将打破
这个猜想

,勾勒出一个
关于我们大脑如何工作的大胆的新愿景。

在网状理论诞生前 60 年

,显微镜技术的发展

揭示了细胞
是有机组织的组成部分。

这一发现是革命性的,

但早期的显微镜
难以提供更多细节。

对于研究大脑的研究人员来说,这项技术尤其具有挑战性。

柔软的神经组织很
脆弱,难以处理。

即使研究人员能够
在显微镜下得到它

,组织也如此密集
,以至于看不到太多。

为了改善他们的观点,

科学家们开始
尝试特殊的染色技术,

旨在通过对比来提供清晰度

最有效的
是 1873 年由 Camillo Golgi 提供的。

首先,高尔基用重铬酸钾硬化脑组织

以防止细胞
在处理过程中变形。

然后他将组织
浸入硝酸银中,硝酸银

明显积聚在神经细胞中。

被称为“黑色反应”的

高尔基方法最终让研究人员
能够

看到后来被称为神经元的整个细胞体。

染色甚至突出

了从
细胞中朝不同方向射出的纤维分支。

这些分支的图像
在末端变得模糊不清

,很难确定
它们是如何融入更大的网络的。

但高尔基得出结论,这些
分支相互连接,

形成了一个
包含整个神经系统的组织网。

14 年后,一位名叫 Santiago Ramón y Cajal 的年轻科学家
和有抱负的艺术家

开始以高尔基的作品为基础。

在写一本
关于显微成像的书时,

他偶然发现了一张
用高尔基染色剂处理过的细胞的照片。 作为科学家和艺术家,

卡哈尔对其精致的细节感到敬畏

他很快着手进一步改善
高尔基的污点,

并为他的作品创造更详细的参考

通过
在特定时间范围内对组织进行两次染色,

Cajal 发现他可以
以更好的分辨率对更多的神经元进行染色。

这些新幻灯片揭示的内容
将颠覆网状理论——从每个神经细胞

伸出的分支在

物理上没有
与任何其他组织相连。

那么这些单独的细胞是如何
传输电信号的呢?

通过
无数次的研究和素描,

卡哈尔提出了一个大胆的新假设。 他提出,

不是电信号
在纤维网络中不间断地传播,

而是信号以某种方式

在线性激活链中从一个细胞跳到另一个细胞。

当卡哈尔在 1889 年提出时,电信号可以以
这种方式传播的想法是完全闻所未闻的。

然而,他的大量图纸
从各个角度支持了他的假设。

在 1900 年代中期,电子显微镜

通过揭示
每个神经细胞周围的膜

将其与相邻细胞分开,进一步支持了这一想法。

这形成
了“神经元学说”的基础,该学说

提出大脑的组织
是由许多离散的细胞组成的,

而不是一个连接的组织。

神经元学说
为现代神经科学奠定了基础,

并让后来的研究人员
发现电脉冲

从一个神经元传播到另一个神经元时,会不断地在化学信号和电信号之间进行转换。

高尔基和卡哈尔都

因各自独立
但共同的发现而获得诺贝尔奖

,研究人员至今仍在应用
他们的理论和方法。

通过这种方式,他们的遗产

在庞大的知识网络中作为离散的元素保持联系。