I’ve been playing with the idea that the genome is not a blueprint or a computer algorithm or a structured plan designed to take into consideration information provided by the environment.  I’ve been toying with the possibility that the genome is closer to a musical script, sheet music, designed to only make sense when integrated with the scripts or compositions of other beings of the same and other species.

First, perhaps a genome makes no sense as an isolated single gnome.  I am suggesting that a genome is but a puzzle piece among puzzle pieces, each piece appearing in a different being.  Seeking answers from within a single genome is like trying to understand a symphonic composition by reading the sheet music of the timpani.

Second, if the genome is like sheet music, then perhaps the musician is something science has been ignoring.  I’m thinking that it’s not that our genome is supplying content for the artist to then display, but that the genome is creating context whereby content and artistry can both emerge.  This is difficult to even consider without the first point successfully absorbed.

The genome is like a nationwide train-track system, with each city a different individual, and the genome is capable of spontaneously compelling an overnight relaying of tracks to form new relationship constellations.  Yet, in addition to producing tracks, the genome also produces that which travels across the tracks, and the gnome constructs the created trains using the information received through the telephone wires that accompany all the railways.

The genome produces structure and content based upon its relationships with other genomes.  No being is produced in isolation.

I’ve also been playing with the idea that human beings, creatures perhaps more informed by neoteny than any other species on the planet, are immersed in language–the massive trade in both imaginary and representational content–in no small part due to embryonic epigenetic processes characterized by developmental adjustments to environmental information carrying forward to the adult of our species.  In other words, that which is most unique about being human, culture, massive interchange of unique information characterized by an internal process informed by massive amounts of external societal input, is isomorphic or uncannily similar to an individual while still inside the womb.  The human obsession with music, for example, is shorthand for culture and a reproduction or extension of womb dynamics into adult and species life.

The symphony that is implied by the genome, the genome seemingly only able to work in concert with other genomes to create the context whereby content and musician can perform, manifests in both womb dynamics and culture.  When exploring the genome from this perspective, we see that the ability of a species to exhibit culture is inevitable if womb dynamics are prolonged to appear in the adult of a species.  Perhaps eventually neoteny compels culture.

Now consider the nationwide genome-designed train-track system with trains and telephone wires stretching across the system.  Consider the patterns people use to describe their dissociated experience.  Each person carries with him or her an ability to be two places at once, to be in two times at once and to imagine something’s opposite.  This is how the brain works each day after the individual awakens every morning from primary process.  (Primary process is dreaming consciousness characterized by one time, one place, no opposites.)

Imagine that the way each person communicates reflects the switching systems and branching directions used across the country by the tracks.

I am playing with the idea that individual split consciousness, the opposite of primary process, and how it leads to culture or the production of shared representational or imaginary content, is a direct reflection of a genome dynamic that is characterized by a shared genome paradigm with a womb dynamic that manifests this paradigm.

I’ve been playing with the idea that the genome is not a blueprint.  I’m starting to think that it is only by playing that we can understand the genome.


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This entry was posted on Monday, December 7th, 2009 at 8:54 am and is filed under Biology, Ontogeny. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
2 Comments so far

  1. Tetsuya Sellers on January 17, 2010 8:39 pm

    Hi Andrew,
    You might also be interested in Williams Syndrome. Williams Syndrome produces extreme abilities with both music and verbal skills, and some people even compare them with elves and fairies because of their appearance and behavior. There is documentation of Williams Syndrome on youtube. Williams Syndrome is a genetic defect and it even appears that the right hemisphere of the brain might be involved. Like autism, it creates extreme neoteany in social development, with emotional outbursts and inability to detect hostility from others. However, the musical and verbal abilities are gifts resembling the artistic abilities of savants, and their extreme friendliness is the oposite of the shyness of autism. Their IQ scores are low because abstract thought is difficult, as well as the ability to way the different thoughts of people. Some good links I found are here.
    http://www.bobfinn.net/Williams%20Syndrome.htm

    A new York times article on Williams syndrome.
    http://www.nytimes.com/2007/07/08/magazine/08sociability-t.html?_r=1&oref=slogin

    The Brain and music.
    http://www.sciencedaily.com/releases/2006/10/061003191006.htm
    An NPR report on Williams syndrome is here.
    http://www.npr.org/templates/story/story.php?storyId=6268495
    This article compares Savant syndrome with Williams Syndrome.
    http://www.wisconsinmedicalsociety.org/savant_syndrome/savant_articles/williams_syndrome
    Tetsuya

  2. Andrew on January 18, 2010 7:43 am

    Hi Tetsuya,

    Williams Syndrome looks fascinating. I’m unfamiliar with it. I’ll follow your links.

    Andrew

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