I took the article more broadly than the group seems to have done.
First, I emphatically do not agree that consonance and tonality have next to nothing to do with each other.
It may be possible to write an atonal piece with major triads - though I hadn't considered that; I'd be interested to know what the result would sound like - is it also possible to write a tonal piece with no consonance? None at all?
At this point in my admittedly non-encyclopedic musical development, I really have to doubt that.
I took the article to indicate not that we're built to receive tonality, but rather sensory input which is capable of being integrated, such as a tonal melody.
From my own experience, I can grasp such a melody faster and reach greater degree of understanding than with a non-tonal line.
