Like the multitude of living organisms, we have a privileged access to our environment as a consequence of being endowed with a sensitivity that distinguishes us from things in the mineral world. Unlike the vegetal world, this sensitivity becomes an irritation associated with motor capacities that organize into a complex activation recruiting multiple sensory-motor channels, i.e., functional sets that characterize the animal kingdom: a directed gesture, intentional, combative and engaging the whole organism. In the field of cognitive neuroscience, many researchers defend the idea that "internal representations", "ideas" are built in the brain from interactions with its extracorporeal environment and gradually adjusted by repeated exercise. From these contacts created by actions, like measurements confirming or disappointing, more or less, expectations, a model of the “external” world is supposed to be constituted, more or less exact. Memory processes would then take over to build a permanence. While in nature, everything is doomed to change and to disintegrate, a permanent and stable entity would resist disintegration to generate within the brain functioning, a “space” endowed with a geometry. In this thesis, we address several criticisms to the cognitive neurosciences for having proceeded to cerebralize notions used in the physico-mathematical sciences, as if a bridge existed between, on the one hand, the concepts used to communicate and structure these fields of scientific thought, and on the other hand, the intrinsic properties of the central nervous system. Beyond the fact that the latter is not a machine created by man, this method seems comparable to that which consists in understanding the software program of a computer from its structure and its material organization. This method is inappropriate because the program is not engendered by the spontaneous operation of the circuits of the machine. A complex set of meaningful actions is required from outside. Space and physico-mathematical notions are idealities, instruments created by something whose origin is not biological, namely culture, with its habits, customs and disruptive innovations.