I must first congradulate you on your contributions. All were very thoughtful and well written and most quite long! Anyway, I've made a small selection for you of some of the ones I thought were the most insightful. I will let you comment freely on them - that is they won't be filtered.
I think the comment that is most intriguing comes from Mathias - particularly his last few words. Here, and if I understand him correctly and I'm not putting words in his mouth, he carries the meme - gene analogy very far.
Working on the premise that genes and memes follow the same algorithm and hence evolve, (just as Darwin deduced that we and all life forms have descended from a common biological ancestor and wondered what might this creature have looked like), Mathias asks indirectly what was the 'common ancestor' of our present day ideas?
In other words what was the archetypal meme?
What do you think?
(You should see your comment straight away this time)
regards
Ray
Nature, Art & Language
Thursday, June 7, 2007
Thursday, April 19, 2007
Connections? Your Comments
Can you see the connection(s) between the following concepts discussed in class?
Put forward your ideas in the form of a comment.
Consciousness
Art & Science
Symathetic magic
Totems
Hamlet
Essences
Abstraction
Plato's forms
Beauty
Fitness
Memes
Epigenetic rules
Super-normal stimuli
The Picasso Effect
Romeo & Juliet
Nature, Art & Language
Put forward your ideas in the form of a comment.
Consciousness
Art & Science
Symathetic magic
Totems
Hamlet
Essences
Abstraction
Plato's forms
Beauty
Fitness
Memes
Epigenetic rules
Super-normal stimuli
The Picasso Effect
Romeo & Juliet
Nature, Art & Language
Monday, April 9, 2007
Epigenetic Rules: some clarification
The central concept expressed in E.O.Wilson’s book Consilience: the unity of knowledge (1997) is that of epigenetic rules. Collectively speaking they are inherited behaviours and ideas that all humans have in common. They are frequently expressed in the arts and in social taboos.
Epigenetic rules could be thought of as strong instinct or innate comportment before they are modified by the natural and cultural environment. They represent the basic elements of human nature. We could also say that it is the "uncarved block" described by Taoist philosophers, or the "noble savage" of Rousseau before it is modified by culture.
The existence of epigenetic rules for elaborate conventions such as totemism, elder councils and religious ceremonies predispose people to invent them (Wilson, 1998 p.181). We could argue that we are born with an epigenetic rule for God. That is, we are predisposed to believe in God regardless of whether He exists or not, as Voltaire once said "If God did not exist we would invent Him."
Epigenetic rules could be thought of as strong instinct or innate comportment before they are modified by the natural and cultural environment. They represent the basic elements of human nature. We could also say that it is the "uncarved block" described by Taoist philosophers, or the "noble savage" of Rousseau before it is modified by culture.
The existence of epigenetic rules for elaborate conventions such as totemism, elder councils and religious ceremonies predispose people to invent them (Wilson, 1998 p.181). We could argue that we are born with an epigenetic rule for God. That is, we are predisposed to believe in God regardless of whether He exists or not, as Voltaire once said "If God did not exist we would invent Him."
Friday, April 6, 2007
Super-normal stimuli as essences
Super-normal stimuli indicate that animal species instinctively direct their evolution . That is, as we have seen individuals will select mates and offsring that are the strongest and healthiest following very specific cues. When these cues or stimuli are isolated they override the animal's "common sense" or more accurately reveal their lack of it.
For example, the male silver washed fritillary butterfly has evolved to pursue the fluttering brown and black wings of the female. But experiments show that what primarily excites this insect are simply the colours in motion, the female herself is somewhat secondary.
The biological significance is that the insect has evolved to see these colours in motion as indicators of fertility, and there is no apparent upper limit. This means that the butterfly will seek the most fertile female possible as indicated by the brightest and fastest moving colours.
What we are dealing with here is, for the butterfly, the visual 'essence' of its sexual drive. In humans one such essence for males is 'delicacy', and this may be an indicator of youthfulness, fertility and virginity.
The theme of 'delicacy' is a frequent subject of love poetry. A very powerful representation of it is given in E.E.Cummings' poem 'somewhere i have never travelled', presented below. Here the poet describes the overwhelming force of the fragile. I will not give any explication of it as it is straight forward, and any analysis would further undermine it. The poem featured in Woody Allen's movie Hannah and Her Sisters (1986).
somewhere i have never travelled,gladly beyond any experience, your eyes have their silence:in your most frail gesture are things which enclose me, or which i cannot touch because they are too near
your slightest look easily will unclose me though i have closed myself as fingers, you open always petal by petal myself as Spring opens(touching skilfully,mysteriously) her first rose
or if your wish be to close me,i and my life will shut very beautifully, suddenly,as when the heart of this flower imagines the snow carefully everywhere descending;
nothing which we are to perceive in this world equals the power of your intense fragility: whose texture compels me with the color of its countries,rendering death and forever with each breathing
(i do not know what it is about you that closes and opens; only something in me understandsthe voice of your eyes is deeper than all roses)
nobody, not even the rain, has such small hands
e.e.cummings, 1931
For example, the male silver washed fritillary butterfly has evolved to pursue the fluttering brown and black wings of the female. But experiments show that what primarily excites this insect are simply the colours in motion, the female herself is somewhat secondary.
The biological significance is that the insect has evolved to see these colours in motion as indicators of fertility, and there is no apparent upper limit. This means that the butterfly will seek the most fertile female possible as indicated by the brightest and fastest moving colours.
What we are dealing with here is, for the butterfly, the visual 'essence' of its sexual drive. In humans one such essence for males is 'delicacy', and this may be an indicator of youthfulness, fertility and virginity.
The theme of 'delicacy' is a frequent subject of love poetry. A very powerful representation of it is given in E.E.Cummings' poem 'somewhere i have never travelled', presented below. Here the poet describes the overwhelming force of the fragile. I will not give any explication of it as it is straight forward, and any analysis would further undermine it. The poem featured in Woody Allen's movie Hannah and Her Sisters (1986).
somewhere i have never travelled,gladly beyond any experience, your eyes have their silence:in your most frail gesture are things which enclose me, or which i cannot touch because they are too near
your slightest look easily will unclose me though i have closed myself as fingers, you open always petal by petal myself as Spring opens(touching skilfully,mysteriously) her first rose
or if your wish be to close me,i and my life will shut very beautifully, suddenly,as when the heart of this flower imagines the snow carefully everywhere descending;
nothing which we are to perceive in this world equals the power of your intense fragility: whose texture compels me with the color of its countries,rendering death and forever with each breathing
(i do not know what it is about you that closes and opens; only something in me understandsthe voice of your eyes is deeper than all roses)
nobody, not even the rain, has such small hands
e.e.cummings, 1931
Tuesday, March 27, 2007
Genes and the biosphere, Memes and the memosphere
Memes are units of culture that behave like genes. That is according to philosopher Daniel Dennett and Sue Blackmore they follow the same three step evolutionary algorithm. Firstly, both genes and memes replicate. Secondly, during copying errors or modifications may occur. Lastly, they are selected. When these three general processes occur the result is evolution.
To carry these analogy further, genes code for characteristics that help the indiviual survive in their natural environment. We could call the environment in which genes carried by species struggle for existence their substrate. The substrate of species is the ecosystem or on a larger scale the biosphere.
Of interest particular interest is the way ecosystems recovery after disturbance. In this case the ecosystem will systematically recover. Species that colonize the vacant site must pass through a series of abiotic and biotic filters. Abiotic filters are those of climate, mineral composition of soils, slope, salinty and so on. Biotic factors are the presence of other species.
But what then is the substrate in which memes compete? It is the human mind. Let us look at this for a moment. For an idea or meme to colonize a person's mind it must also pass through a series of filters. Firstly, there are the hardwired rules that determine genetically how we are predisposed to behave and make choices. E.O.Wilson has termed these 'epigenetic rules'. Secondly, the new idea may do a number of things to establish itself. It could dislodge an existing idea by proving itself better in some respect; that is, outcompete an existing idea. It may also act as an add-on or an accessory, or it may simply colonize vacant ground.
With the above description there appears to be the possibility of forming an analogy between the animal and plant communities in an ecosystem and memes in the human mind. This could be extended where the full collection of ecosystem comprises the biosphere, so to the full aggregation of human minds would represent the 'memosphere'.
To summarize this idea, it appears that not only are we able create simulations of the world through consciousness, our minds seem act like scaled down models of the natural ecosystems in which they evolved. That is, our minds are reflections of the fundamental evolutionary processes occrring in Nature. The task now at hand would be to see how far we could take this metaphor and what it could teach us about the way the mind works.
To carry these analogy further, genes code for characteristics that help the indiviual survive in their natural environment. We could call the environment in which genes carried by species struggle for existence their substrate. The substrate of species is the ecosystem or on a larger scale the biosphere.
Of interest particular interest is the way ecosystems recovery after disturbance. In this case the ecosystem will systematically recover. Species that colonize the vacant site must pass through a series of abiotic and biotic filters. Abiotic filters are those of climate, mineral composition of soils, slope, salinty and so on. Biotic factors are the presence of other species.
But what then is the substrate in which memes compete? It is the human mind. Let us look at this for a moment. For an idea or meme to colonize a person's mind it must also pass through a series of filters. Firstly, there are the hardwired rules that determine genetically how we are predisposed to behave and make choices. E.O.Wilson has termed these 'epigenetic rules'. Secondly, the new idea may do a number of things to establish itself. It could dislodge an existing idea by proving itself better in some respect; that is, outcompete an existing idea. It may also act as an add-on or an accessory, or it may simply colonize vacant ground.
With the above description there appears to be the possibility of forming an analogy between the animal and plant communities in an ecosystem and memes in the human mind. This could be extended where the full collection of ecosystem comprises the biosphere, so to the full aggregation of human minds would represent the 'memosphere'.
To summarize this idea, it appears that not only are we able create simulations of the world through consciousness, our minds seem act like scaled down models of the natural ecosystems in which they evolved. That is, our minds are reflections of the fundamental evolutionary processes occrring in Nature. The task now at hand would be to see how far we could take this metaphor and what it could teach us about the way the mind works.
Wednesday, March 21, 2007
Where are we now ?
Art, philosophy and science work towards the same goal: to understand and control what we sense is going on, both within us and outside us. In regards to our internal selves, neurologist Antonio Domasio observed "the brain is the captive audience of the body".
Our minds monitor themselves as well, and we put forward explanations for what and how we think. For example, Plato's 'World of Perfect Ideas' could be thought of as a rationalization of the presence of essences and abstractions created by the visual brain in its efforts to record the particulars and complex images it sees.
Unfortunately the images the brain produces are always more perfect than the reality ad this generate 'angst' or discontentment. For neurologist Semir Zeki visual art produces these 'pure' forms and provides us with catharsis from our search for them.
In respect to controlling outside forces, some thinkers suggest that primitive cave art may be a form of sympathetic magic, that is the control of things in Nature by producing and manipulating images or models of them. I have extended this definiton to cover all art forms that represent what we consider to be dangerous and worrying. For example, Hamlet for both the author and the generations spectators it is a means to overcome our existential problems that come from consciousness.
However, the arts (including philosophies and religions) and sciences, not only give us a great deal of control and understanding over Nature and our minds, they are also responsible for directing our thoughts and lives; that is, if we choose to let them.
This brings us to the theme of the next lesson: 'memes' and cultural evolution.
Our minds monitor themselves as well, and we put forward explanations for what and how we think. For example, Plato's 'World of Perfect Ideas' could be thought of as a rationalization of the presence of essences and abstractions created by the visual brain in its efforts to record the particulars and complex images it sees.
Unfortunately the images the brain produces are always more perfect than the reality ad this generate 'angst' or discontentment. For neurologist Semir Zeki visual art produces these 'pure' forms and provides us with catharsis from our search for them.
In respect to controlling outside forces, some thinkers suggest that primitive cave art may be a form of sympathetic magic, that is the control of things in Nature by producing and manipulating images or models of them. I have extended this definiton to cover all art forms that represent what we consider to be dangerous and worrying. For example, Hamlet for both the author and the generations spectators it is a means to overcome our existential problems that come from consciousness.
However, the arts (including philosophies and religions) and sciences, not only give us a great deal of control and understanding over Nature and our minds, they are also responsible for directing our thoughts and lives; that is, if we choose to let them.
This brings us to the theme of the next lesson: 'memes' and cultural evolution.
Tuesday, March 20, 2007
The World of Perfect Ideas
The essences and the abstractions that the visual brain generates are reminiscent of Plato's forms or perfect ideas presented in The Republic. In this lesson we have explored the basics of Plato's theory using Jostein Gaarder's Sophie's World as our source.
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