[Fis] Fis Digest, Vol 129, Issue 20

Sat Jan 10 23:32:15 CET 2026

Hi Kate, of course you're right about the fundamental bacterial origin of
emotion and locomotion, but I was trying to frame my response in the
context of 'art' as a manifestation of consciousness. I would like to
suggest that what bacteria do is a behavior, not consciousness in the sense
that bacteria are aware of their 'selves'. I think of Chalmers' 'hard
question', 'seeing red when we whack our thumb with a hammer' as an
atavistic memory of when we first injured ourselves and bled, not unlike
our innate fear of the dark, lightning, spiders and snakes.....innate
traits that are buried deep within the homeostatically-regulated memories
of our cells. That sense of comfort or discomfort due to non-local
consciousness is the impetus for expressing such feelings in the form of
art. In this context, It is of interest that there were three hormone
receptors that duplicated (amplified) during the water-land transition,
those for Parathyroid Hormone-related Protein (PTHrP), cortisol, and the
beta-adrenergic receptor, all three of which were necessary for physiologic
adaptation to land. Herein, it is important to bear in mind that the
endocrine system is under epigenetic control (Zhang X, Ho SM. Epigenetics
meets endocrinology. J Mol Endocrinol. 2011 Feb;46(1):R11-32), inferring
that our consciousness is controlled by our environment. And all of the
above was set in motion by the force of gravity (Torday JS. Parathyroid
hormone-related protein is a gravisensor in lung and bone cell biology. Adv
Space Res. 2003;32(8):1569-76), which is why, in my opinion, we feel there
is something greater than ourselves, which, is the motivation and need for
art as the expression of that 'holism'. It is not coincidental that we
express most art other than dance through our forelimbs, which were freed
by standing on two legs, allowing us to express our emotions through our
hands.....and btw, our hands are genetically connected to our hearts as the
seat of emotion through homeobox genes. For example, if an infant is born
with webbed fingers the Pediatrician will suspect a heart defect because
the webbing is under the same genetic control as the septation of the
heart. Art is our expression of our holistic relationship to the
Cosmos.....But perhaps you see it differently?

Collegially, John

John S. Torday
Professor of Pediatrics
Obstetrics and Gynecology
Evolutionary Medicine
UCLA

*Fellow, The European Academy of Science and Arts*

On Sat, Jan 10, 2026 at 5:28 PM JOHN TORDAY <jtorday at ucla.edu> wrote:

> Hi Kate, of course you're right about the fundamental bacterial origin of
> emotion and locomotion, but I was trying to frame my response in the
> context of 'art' as a manifestation of consciousness. I would like to
> suggest that what bacteria do is a behavior, not consciousness in the sense
> that bacteria are aware of their 'selves'. I think of Chalmers' 'hard
> question', 'seeing red when we whack our thumb with a hammer' as an
> atavistic memory of when we first injured ourselves and bled, not unlike
> our innate fear of the dark, lightning, spiders and snakes.....innate
> traits that are buried deep within the homeostatically-regulated memories
> of our cells. That sense of comfort or discomfort due to non-local
> consciousness is the impetus for expressing such feelings in the form of
> art. In this context, It is of interest that there were three hormone
> receptors that duplicated (amplified) during the water-land transition,
> those for Parathyroid Hormone-related Protein (PTHrP), cortisol, and the
> beta-adrenergic receptor, all three of which were necessary for physiologic
> adaptation to land. Herein, it is important to bear in mind that the
> endocrine system is under epigenetic control (Zhang X, Ho SM. Epigenetics
> meets endocrinology. J Mol Endocrinol. 2011 Feb;46(1):R11-32), inferring
> that our consciousness is controlled by our environment. And all of the
> above was set in motion by the force of gravity (Torday JS. Parathyroid
> hormone-related protein is a gravisensor in lung and bone cell biology. Adv
> Space Res. 2003;32(8):1569-76), which is why, in my opinion, we feel there
> is something greater than ourselves, which, is the motivation and need for
> art as the expression of that 'holism'. It is not coincidental that we
> express most art other than dance through our forelimbs, which were freed
> by standing on two legs, allowing us to express our emotions through our
> hands.....and btw, our hands are genetically connected to our hearts as the
> seat of emotion through homeobox genes. For example, if an infant is born
> with webbed fingers the Pediatrician will suspect a heart defect because
> the webbing is under the same genetic control as the septation of the
> heart. Art is our expression of our holistic relationship to the
> Cosmos.....But perhaps you see it differently?
>
> Collegially, John
>
> John S. Torday
> Professor of Pediatrics
> Obstetrics and Gynecology
> Evolutionary Medicine
> UCLA
>
> *Fellow, The European Academy of Science and Arts*
>
>
> On Sat, Jan 10, 2026 at 4:20 PM Katherine Peil <ktpeil at outlook.com> wrote:
>
>> Thanks John, for you association between Language and Locomotion. But
>> there is a much deeper, more ancient, connection between *emotion* and
>> behavioral locomotion (witness the chemotaxis, info taxis of the
>> bacterium.) Read all about it here: Peil, K. T. (2014). Emotion: the
>> self-regulatory sense. *Global advances in health and medicine*, *3*(2),
>> 80-108.
>> Might your work on gravity and identity apply here?
>> Kate Kauffman
>>
>>
>> On 1/10/26, 1:39 PM, "Fis" <fis-bounces at listas.unizar.es> wrote:
>> Katherine Peil Kauffman
>>
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>> Today's Topics:
>>
>>    1. Re: Art and the Cognitive (Is art a human phenomenon?)
>>       (JOHN TORDAY)
>>
>>
>> ----------------------------------------------------------------------
>>
>> Message: 1
>> Date: Sat, 10 Jan 2026 15:38:02 -0500
>> From: JOHN TORDAY <jtorday at ucla.edu>
>> To: fis <fis at listas.unizar.es>
>> Subject: Re: [Fis] Art and the Cognitive (Is art a human phenomenon?)
>> Message-ID:
>>         <CAGyb-D1qFkJnCw0M2UsvOKfqseR=3-Brm-DGJ8-d=
>> 2fmcT7nag at mail.gmail.com>
>> Content-Type: text/plain; charset="utf-8"
>>
>> Dear Laszlo and FIS, when you ask whether art is unique to humans, I think
>> you have to ask that question in the context of physiology as the origin
>> of
>> consciousness (Torday JS, Miller WB Jr. A systems approach to physiologic
>> evolution: From micelles to consciousness. J Cell Physiol. 2018
>> Jan;233(1):162-167.). And in that vein, only humans possess an Area of
>> Broca that integrates language and locomotion, great apes also having an
>> Area of Broca, but without language facility. It is the merging of
>> locomotor and language skills under the aegis of the FoxP2 gene  that is
>> the origin of Man's facility for art in my opinion, stemming from
>> bipedalism as positive selection pressure for our overdeveloped central
>> nervous system (Torday JS. A central theory of biology. Med Hypotheses.
>> 2015 Jul;85(1):49-57). Perhaps you could comment?
>>
>> Best, John
>>
>> John S. Torday
>> Professor of Pediatrics
>> Obstetrics and Gynecology
>> Evolutionary Medicine
>> UCLA
>>
>> *Fellow, The European Academy of Science and Arts*
>>
>>
>> On Sat, Jan 10, 2026 at 11:04?AM Marcus Abundis <55mrcs at gmail.com> wrote:
>>
>> > Hi L?szl?,
>> >
>> > From your introductory post, and the longer paper's abstract it is not
>> > clear what we are being asked to consider in your talk. I thought the
>> > 'whole matter' of art, etc. was a wholly settled matter, often framed as
>> > the 'Upper Paleolithic Revolution' (but at times called various names).
>> The
>> > advent of cave paintings, etc. was seen as clear evidence for a human
>> > capacity for abstraction and abstract thought, first arising somewhere
>> > between 300KYA (first modern humans) and 50KYA (early evident
>> artifacts).
>> >
>> > What exactly are we considering in your talk?
>> >
>> > Thank you,
>> >
>> > Marcus Abundis
>> > 55mrcs at gmail.com (best)
>> > +41 62 844 2193 home (2nd best)
>> > +41 77 465 8977 (cell)
>> >
>> >
>> > On Fri, Jan 9, 2026 at 9:35?PM Cs?ji L?szl? Kopp?ny <
>> > csaji.koppany at gmail.com> wrote:
>> >
>> >> Dear FIS Colleagues,
>> >>
>> >> This is rather a starting point of a conversation than a report of
>> >> research results; a call to think together and share our thoughts and
>> >> knowledge. The question in this kick-off text is very simple: Is art a
>> >> human ability? As a social and cultural anthropologist, I conducted
>> >> fieldworks in Asia, Africa, and Europe over the last few decades. Art
>> >> penetrates our everyday life and rituals; just think of the built
>> >> environment, music, design, literature, fine arts, vernacular arts,
>> etc. I
>> >> have recently published a paper that addresses art(s), aiming to
>> develop a
>> >> new definition from the perspective of cognitive sciences (see: Toward
>> a
>> >> Multidimensional Definition of Art from the Perspective of Cognitive
>> >> Sciences | MDPI
>> >> <
>> https://na01.safelinks.protection.outlook.com/?url=https%3A%2F%2Furldefense.com%2Fv3%2F__https%3A%2F%2Fwww.mdpi.com%2F3042-8084%2F2%2F1%2F1__%3B!!D9dNQwwGXtA!Xrv66q4RXEKv2pWONoI8np-mus_kNGSc3EjXMgbnMskwKkNrkjmE_CkucMR_l-mR9kB5LSEAvPHhwXtKfFcx6TrO8g%24&data=05%7C02%7C%7C2c33e0ed545141bee04a08de50884c6c%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C639036743500508650%7CUnknown%7CTWFpbGZsb3d8eyJFbXB0eU1hcGkiOnRydWUsIlYiOiIwLjAuMDAwMCIsIlAiOiJXaW4zMiIsIkFOIjoiTWFpbCIsIldUIjoyfQ%3D%3D%7C0%7C%7C%7C&sdata=tVP4LM7CrWOYcon0gz4lMCJWH%2FcIDEMUwjsARmI0FSE%3D&reserved=0 
>> <https://urldefense.com/v3/__https://www.mdpi.com/3042-8084/2/1/1__;!!D9dNQwwGXtA!Xrv66q4RXEKv2pWONoI8np-mus_kNGSc3EjXMgbnMskwKkNrkjmE_CkucMR_l-mR9kB5LSEAvPHhwXtKfFcx6TrO8g$>
>> >).
>> >> My attached kick-off text largely relies on this long paper.
>> >>
>> >> Numerous attempts to define art have been made from antiquity to the
>> >> present, yet historical overviews often adopt a Eurocentric (and
>> >> American-centric) perspective focused mainly on culturally dependent
>> >> aesthetic approaches. As a universal social and cultural phenomenon,
>> art
>> >> resists center-periphery models. Art is not merely a unique
>> representation
>> >> of reality, but also an ability to create new realities and thereby
>> shape
>> >> society. Art has attracted and accompanied people from the dawn of
>> history.
>> >> Some argue that acquiring the ability to create and appreciate art was
>> one
>> >> of the few important steps in the process of becoming Homo Sapiens.
>> Thus,
>> >> it is a universal phenomenon that spans ages and cultures?arising from
>> >> something fundamentally human.  However, is it really fundamentally
>> human?
>> >> What gives its "merely" human factor? Do our experiences (image) on AI
>> >> development and its social functions support this idea? Ethologists,
>> >> cognitive scientists, and psychologists often over-emphasize one
>> element
>> >> (e.g., visual symmetry-asymmetry, harmony, beauty, etc.) of art(s) that
>> >> seems suitable for their research methods. This seems a pragmatic and
>> >> reasonable solution, but it easily obscures the ?big picture? and the
>> core
>> >> of the problem. Thus, it remains a question how art can be considered
>> as a
>> >> human activity. Consequently, artists and scholars have been
>> preoccupied
>> >> since ancient times with the question of what art is, or how certain
>> >> prominent forms of art (visual arts, drama, music, literature, etc.)
>> work.
>> >> Nevertheless, the abstract concept of art is not expressed by a notion
>> >> (word) in every culture. There are significant differences in the use
>> of
>> >> the words linked to art. Moreover, the meaning of art has changed
>> >> continuously and significantly over time, albeit at different rates.
>> >>
>> >> The cognitive turn reshaped art theory by reconsidering art as a
>> >> cognitive dimension of humanity. Art has no limits on who can create or
>> >> enjoy it. The ability to use and understand metaphor, for instance,
>> >> demonstrates everyday human artistic cognition. I introduced a simple
>> >> vectorial model that aligns closely with the idea of family resemblance
>> >> in the sense that cognitive semantics conceives it as a kind of
>> >> categorization (meaning construction). This a 3D model rather than a
>> >> simple definition. Since art lacks a single, definitive prototype, no
>> >> strict, universal definition can capture all its forms in a yes or no
>> >> spectrum. My filed studies showed me the variability of artistic
>> >> practices (in craft, value, range of affect, etc.) that can be placed
>> in
>> >> different ways within a space (and not a category) of art. In this
>> model,
>> >> three coordinates form a space. These vectors (coordinates) are equally
>> >> relevant cognitive aspects: 1. Creativity, 2. Communication, 3.
>> Experience.
>> >> For further, detailed argumentation see the attached file.
>> >>
>> >> Dear FIS members, dear colleagues in different scientific disciplines!
>> Do
>> >> you agree or disagree that art is a human ability? If yes or no: what
>> kind
>> >> of evidence can we set up for the argumentation?
>> >>
>> >>
>> >> Best regards,
>> >>
>> >>                             L?szl? Kopp?ny Cs?ji
>> >>
>> >>
>> >> P.s. See the attached file for further details and argumentation
>> >> _______________________________________________
>> >> Fis mailing list
>> >> Fis at listas.unizar.es
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