Chapter 10, The Arts and Their Interpretation
Here we have perhaps the area most resistant to the idea of biological or psychological interpretation. Because it doesn’t occur, especially to the artists themselves, why people tell certain kinds of stories and not others, why they find certain subjects of paintings pleasant and not others, and so on; they may not even realize there are other kinds of stories (paintings, yes, I suppose). (But that’s my gloss.) And this might be the chapter of most relevance to science fiction, which of course as a type of literature, is a kind of art.
Key points in this chapter:
- The consilient channel from the natural sciences to the arts is interpretation, guided by knowledge of science and the understanding that human nature exists, in preference to postmodernism or other intuitive approaches;
- Wilson again summarizes gene-culture coevolution, and concludes that this view favors a more traditionalist view of the arts;
- We can easily find groupings of archetypes that underlie most myth and fiction, from “In the beginning” to “The hero embarks on a journey” and many others;
- Human evolution entailed the shocking recognition of the self, the finiteness of personal existence, and the chaos of the environment. The arts were spawned by the need to impose order on the confusion perceived by intelligence.
- Cave paintings reveal ancient tendencies for sympathetic magic, that remain today in the names of sports teams;
- Other evidence of how genetically-driven perceptions affect the arts includes how brain waves respond best to 20% redundancy among random patterns, and how this is reflected in abstract designs around the world; and how the beauty industry plays on human attraction to supernormal stimuli;
- The arts nourish our craving for the mystical, our yearning to see what lies beyond the rim of the world, and as the entire world is now home ground, we look beyond it to the stars.
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