Three things are bouncing around my brain after I drank coffee to knock out a headache, which worked.

I’m finishing the over 100 piece that seeks to provide a less-stressed introduction to this theory than the earlier “Introduction to the Theory of Waves.”  First, the theory is now called “The Orchestral Theory of Evolution.”  The name changed when I hypothesized that estrogen manages the timing of maturation.

That, by the way, was a bizarre realization.  Bizarre for two reasons.  First, it came to me without my being aware that it had come to me.  I just found myself working with that premise, not having noted when it became part of my thoughts.  Second, for more than 11 years, I’ve been working with testosterone controlling the rate of maturation without it having ever crossed my mind that it would be interesting to know what managed the timing.  It just never struck me that it was relevant or knowable, even though I’d been discussing rates and timing of maturation for 11 years.  At the same time, for 11 years, I’d been wondering how specifically estrogen might fit into the theory that was coming together.  I sensed that the theory was out of balance.

Since 1998, I’d been wondering how estrogen was relevant at the same time that I was totally not paying attention to the relevance of timing to maturation, even though I talked of timing constantly in the context of timing being the other half of the time frame of maturation, integral to heterochronic evolution.  Then, late last winter, estrogen slipped in, and I didn’t even notice the integration.

Okay.  Pretty weird.

Finishing the new introduction, I’ve been refining different sections of the work.  Describing the contribution of the artist, it hit me that the definition of “artist” embraces two very different sensibilities with paradoxically opposite implications.

There is the Occam’s-razor worshipping, male, Neo-Darwinian, reductionist, materialist, programmer’s creativity that seeks an elegant solution with the fewest number of steps possible.  Integral to this view is a compulsive rhythm implying step-by-step behavior with little awareness of a larger picture.  This reflects a particularly patrifocal, hierarchical social paradigm with every level in the hierarchy obsessively protecting that which is observable and controllable in contiguous positions.  There are ways that this also reflects the male protohuman character that is far less interested, artistically, in relationship than in the obsessive performance of evocative rhythm.

In other words, features of the hypothetical low estrogen, obsessive male are evident in patrifocal society and its creative impulse.  Perhaps high estrogen, patrifocal, creative males have creative impulses similar to low estrogen matrifocal males.  Focus on detail characterizes both milieus.

The emerging artist’s impulse is one that features a high estrogen male, far from the kind of male I am hypothesizing was common while we were growing big brains.  We are now seeing the “feminine” male, the male that fits the newer of the two matrifocal paradigms, a male with an artistic sensibility that seeks productions that reflect a larger whole.  Relationship is closely observed.  Wider connections are respected.

In other words, the protoartist paradigm is not the same as the emerging artist paradigm, even though both operate in matrifocal context


This entry was posted on Friday, January 29th, 2010 at 8:51 am and is filed under Art, Estrogen, Play, Social Structure, Unconscious. You can follow any responses to this entry through the RSS 2.0 feed. You can skip to the end and leave a response. Pinging is currently not allowed.
1 Comment so far

  1. Curtis on August 13, 2016 6:24 pm

    High estrogen men can be creative, but, as you say, they are generally less obsessive. Estrogen makes someone “nice” and helpful towards others; high-estrogen individuals expend much of their energy helping other people, instead of working on their own projects. They are generally too pro-social to give into the obsession necessary to produce art. But that said, high-estrogen men have achieved some incredible art – Elvis Presley and Michael Jackson are two examples.

Name (required)

Email (required)


Share your wisdom