[Fis] Fis Digest, Vol 129, Issue 61

Thu Jan 29 17:40:43 CET 2026

Hi Paul, et al,
Your points are well taken and echo the lovely Hannah Arendt, with a touch of Ayn Rand as well.
And you have put your thumb on the deeper meaning and function of the painful category of emotional experience - the True South of “self-preservation”. Basic feelings of fear, disgust, sadness and anger - and their fight and flight responses - are our hardwired safeguard against social manipulation and domination of the individual within any collective. These “violations” are simply our social hacking of the reward~punishment aspect of Pavlovian learning, and applying third party control through social bribes and threats. This has been one of humanities greatest failures in not understanding the “self-regulatory” nature of emotional signals, as well as how biology defines “self-identity”.
Indeed, the deep, abstract, structure of identity is both an autonomous whole (an embodied individual navigating in its local environment), and a part of a greater collective whole - all the way down to the electron in an atom (if not entangled “particles” in the quantum domain). For example, the "external” valence electrons function as the connective bonding within an atom as a whole, while the behavior of electrons within “inside” shells, are parts of that greater whole. So the electron - a fundamental particle - is Both a part and a Whole.
This same Part~Whole identity structure is mediated all the way up the evolutionary ladder, evidenced in the self/not-self identity distinctions in cellular differentiation, genetic, epigenetic and immune regulation. (If the individual loses sight of its collective identity, for example, cancer results.)

Fast-forward to human psychiatry and the role of emotion in mediating “identity”, Daniel Seigel offers the term “MWE” to capture this dual identity structure.  (Martin Buber addressed this as I and THOU.) It is the task of every sentient individual to mediate an optimal balance between both autonomous and collective aspects of identity, and subordinate one over the other is a mistake. (The East tends to subordinate autonomy while West subordinates collectivity, as do the extreme Right and Left of US politics.)

But as Francesco, Pedro - and all the major religious traditions - suggest, our True North toward cultivating the complex positive emotional experiences (“LOVE” as God,  compassion, gratitude, forgiveness, humility, etc….the divine Fruits of Spirit), speak to our innate desire for relational bonds in ever-larger collectives. They are about our "self-developmental" and collective, cooperative, and co-creative capacities.

This misunderstanding of the dual nature of identity, together with the equally biophysically false dichotomies of Good and Evil, and Us versus Them; are a major culturally constructed source of our most self-destructive behavior as a species. (Recall “The Fall” in Genesis, was about eating the fruit from the forbidden Tree of Knowledge of Good and Evil, which I interpret biophsyically as our own creation of our own misguided value system - separating us from those of our innate emotional sentience.)

Thank you all for thinking about emotion, and I encourage you to likewise think about identity as “form”, and your personal experiences of navigating the ‘in-formative” relational boundary between self and other, how both emotional resonance and dissonance play out in attaining optimal balance.
With all best wishes for optimal health and authentic happiness,
Kate Kauffman

PS Krassimir, I took your on-line test - very cool!  I got a low score of 2/8. Did I blow it? Or is this a measure of how language devoid of semantic emotional tone fails?

On 1/28/26, 12:48 PM, "Fis" <fis-bounces at listas.unizar.es> wrote: Katherine Peil Kauffman

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Today's Topics:

   1. Re: Fwd: What is Art? The Missing Link (Paul Suni)

----------------------------------------------------------------------

Message: 1
Date: Wed, 28 Jan 2026 11:47:12 -0800
From: Paul Suni <paul.p.suni at gmail.com>
To: Pedro C. Mariju?n <pedroc.marijuan at gmail.com>
Cc: fis at listas.unizar.es
Subject: Re: [Fis] Fwd: What is Art? The Missing Link
Message-ID:
        <CAKTT-2ibZhX0gyzjxAw+FWwTjQELfc2zHBmmFMHMWY4PuJ=ksA at mail.gmail.com>
Content-Type: text/plain; charset="utf-8"

Dear Pedro,

You bring up crucially important points about art as embodying shared
aesthetic forms (Clynes); art as nourishment (extra-trophic), and the
taking in and metabolization of aesthetic nutrients as a matter of
biological capability - not all aesthetic nutrients can be absorbed by all
organisms. Among humans there is selectivity based on capability and taste
(or the lack of taste), which occurs on a spectrum from high art (extreme
art) to unexceptional mass productions of demi/pseudo art. You end your
commentary appropriately noting that such nourishment may be essential for
social wellbeing. I agree that wellbeing, art and love belong intimately
together, as you emphasize. I think what you are trying to say is
provocative and very valuable, but let me nitpick on that a bit, if I may.

As a student of wellbeing, I hold it as self-evident that the individual is
the primal unit of wellbeing, and I have yet to make the cognitive leap
from individual wellbeing to social wellbeing, but I imagine that your
reference to social wellbeing is actually to the social context within
which individual wellbeing is potentially realized, rather than the
experience of wellbeing itself. That would keep us on the same page. You
see, my prejudiced view of *social* wellbeing is that it is a particular
kind of discourse, a technology of persuasion and oftentimes a coercive
language game, whose primary function in groups is putting people in their
place and teaching them lessons - socialization, in other words: For
example, " if Paul does not agree with this academic committee's notion of
wellbeing, Paul should not be regarded as one of us. Paul must produce and
accept the kinds of aesthetic nutrients that this committee approves. We
are one."

Above all, the collective cannot experience any particular aesthetic form
on an individual's behalf. Socialization makes collectives happy, by fiat.
You see, there is that which the self-identified communist New York Mayor
Zohran Mamdani calls, " The warmth of collectivism." That warmth is
probably an expansive, love-like feeling inside Mamdani, which may be
catalyzed by visions of happy masses singing the praises of the collective,
where everyone is of academically endorsed race, gender and moral
sentiments.

Love ostensibly begins in neoteny, and expands into the social domain,
where it can be harnessed as a persuasive technology for political,
religious or simply sadistic purposes. Mamdani's idea of the warmth of
collectivism brings to my mind Hitler's ovens at Auschwitz and the hell
that Mao's cultural revolution put Chinese intellectuals through. I am also
reminded of the unspeakable plight of artists and composers in the Soviet
Union, not to speak of the countless exploitative love cults throughout
history.

Nevertheless, love is the perfect correlate of art, in a fundamental sense.
Although art does occur in contractive and hateful contexts such as the
exuberant manufacture of brutal postmodern ugliness in universities, I
choose to regard that kind of academically inspired art as inauthentic - as
art in name only. There is no wellbeing in it. The most productive
conversations about art that I can imagine involve the notion of art as
expanding individual potentials and accumulating surpluses of rich and
fulfilling personal experiences - spiritual wealth.

Having said that, we must ask what is human potential and what makes an
experience rich and fulfilling? I have much to say about that, but I've
said enough. Science might quickly retort, as a reflex, that what makes an
experience rich and fulfilling is natural selection. Academic literature is
replete with rather infantile mannerisms on how to deflect the conversation
from the personal interior to impersonal explanations. It is the
quintessential mark of academia to silence and cancel interiors -
especially  of " the right people."

Cheers,
Paul

On Tue, Jan 27, 2026 at 12:34?PM Pedro C. Mariju?n <
pedroc.marijuan at gmail.com> wrote:

> Dear All,
>
> It is a pity that we have not provided sufficient discussion yet on the
> link between biological capabilities (at least, in advanced mammals) and
> the emergence of human aesthetic/artistic impulses.
> I will make some crazy comments or bold speculations, as you prefer.
>
> As was pointed weeks ago, in quite different animal species there appears
> a clear preference for shapes, colors, movements, compositions, etc. that
> show aesthetic value for the human observer. Almost universally it is
> related to mating, courtship and also to the rearing of the offspring.
> Mammalian parenting, for instance, includes hormonal, neurological, and
> social mechanisms with ad hoc forms of sound & visual communication,
> lullabies, songs, etc. I referred days ago to Manfred Clynes' sentic
> forms--quite easy to find in the way mammals (and humans) produce their
> sounds and making "adorable" to their creatures. It is a common trait of
> mammalian placental clades (quite probably).
>
> Well, that stock of frequently (neotenic) preferences for forms and
> sounds, and related emotions, gets expanded along human evolution. Again,
> courtship, man-female bonding, and child rearing are in the center. A term
> almost absent from any discussions appears: "love". It is at the very
> nucleus of our species survival. Yes. It creates a transcendent attachment
> to your pair, to your children--and beyond. Falling in love is something
> that in my opinion is not far from the complex that generates the extreme
> forms of art, those of the very, very few that have civilization
> consequences. Actually, that capability would be distributed along a
> continuum, with most people unable to feel or sense real or extreme
> artworks. But of course, the need for the "extra trophic" keeps being
> almost universal on the human sociotype, as I was arguing days ago
> regarding entertainment industries, mass music, tourism, etc. --and this
> generates a continuous stream of demi or pseudo arts. Well, they are needed
> for social well being, presumably, certainly. They are arts too.
>
> And that was all!
> With love--Pedro
>
>  , El 21/01/2026 a las 1:16, Cs?ji L?szl? Kopp?ny escribi?:
>
> Dear John, Marcus, Louis, Eric, Mark, and all FiS colleagues,
> We have witnessed excellent argumentations that were both inspiring and
> thought provking. I am grateful to participate.
> I circulate around an easy question after all these considerations: how
> the cellars' cognitive functions, self-cognition, and consciousness relate
> to each other, and how "emotion" as a factor links to them. Theoretically,
> all living creatures differ from crystals, stones, fluid, or aeriform
> materials by having a kind of "decision-making"--an ability of "willing"
> that gives them a "plus".
> Nevertheless, this ability is not an art form; it is just a differentia
> specifica between living ones and those that exist without a
> decision-making gift (capability). Art seems to be a step further, which
> elevates the material environment to a level that could be called
> "super-consciousness", or something like that. Super-consciousness empowers
> us not only to shape the world but to imagine it in another way, and create
> "new realities"--in a way that would not be possible physically.
> This kind of imagination--that exceeds the animals' "rationality"
> (causability?), creativity, and communicative acts...
> Can we specify--and how can we?--such a "plus" (I called it a "human
> spark" in my initial paper), or is this evolutionary thesis just a delusion?
> Cheers,
>                L?szl?
>
> Mark Johnson <johnsonmwj1 at gmail.com> ezt ?rta (id?pont: 2026. jan. 19.,
> H, 10:05):
>
>> Yes! Thank you Joe!
>>
>> On Mon, 19 Jan 2026 at 08:33, <joe.brenner at bluewin.ch> wrote:
>>
>>> Dear John,
>>>
>>> We have not talked to each other recently, but I follow your work with
>>> interest and wanted to applaud the last three lines of your 19.1 note: ... "the
>>> 'logic' of the Cosmos. Symbiogenesis is the mechanism by which life has
>>> acquired the logic of the Cosmos. In other words there is a continuum from
>>> the foundations of the Cosmos to life that is expressed in art."
>>>
>>> The image it evoked was that of my sculptor father, Michael Brenner,
>>> making a bust of me at age 10 in his studio in New York. He danced around
>>> his easel in a frenzy *(fr?n?sie) *, chopping away at the emerging
>>> marble head, sweating and grunting. Art comes more easily to many, but I
>>> suggest that its becoming is always partly unconscious, an expression of
>>> the energetic foundations of existence.
>>>
>>> Cheers,
>>> Joe
>>>
>>> ------but ---- Message d'origine ----------
>>> De : JOHN TORDAY <jtorday at ucla.edu>
>>> ? : fis <fis at listas.unizar.es>
>>> Date : 17.01.2026 22:58 CET
>>> Sujet : [Fis] What is Art?
>>>
>>>
>>> Dear FIS, I am of the opinion that art is an expression of
>>> consciousness, raising the question Art as to what consciousness is? I fell
>>> down this 'rabbit hole' twenty years ago, having performed a series of
>>> experiments to understand how and why Parathyroid Hormone-related Protein
>>> (PTHrP) is necessary for the formation of alveoli in the lung (Rubin
>>> LP, Kovacs CS, De Paepe ME, Tsai SW, Torday JS, Kronenberg HM. Arrested
>>> pulmonary alveolar cytodifferentiation and defective surfactant synthesis
>>> in mice missing the gene for parathyroid hormone-related protein. Dev Dyn.
>>> 2004 Jun;230(2):278-89)? The duplication of the PTHrP Receptor gene during
>>> the water-land transition amplified all of the vertebrate physiologic
>>> adaptations to land- lungs, kidneys, skeleton, skin- and since PTHrP is a
>>> stretch-sensitive gene, I tested the hypothesis that PTHrP mediated the
>>> vertebrate adaptation to the force of gravity. If cells are exposed to zero
>>> gravity they lose their differentiated phenotypes (i.e. they devolve), and
>>> when yeast are exposed to zero gravity they cannot conduct a calcium flux,
>>> meaning that they are unconscious. Moreover, human consciousness has been
>>> driven by bipedalism (Torday JS. A central theory of biology. Med
>>> Hypotheses. 2015 Jul;85(1):49-57), freeing our forelimbs for tool
>>> making, including language as a tool, and locomotion. Importantly, both
>>> language and locomotion are under control by the FoxP2 gene, so that
>>> positive selection pressure for FoxP2 would have coordinately stimulated
>>> language and locomotion, expressed through our hands and minds as art of
>>> all kinds- literature, painting, sculpture, music- in other words, art is a
>>> manifestation of our need to communicate with our environment and with
>>> other humans.
>>>
>>> Furthermore, all of the above is due to the evolution of homeostatic
>>> control of energy due to Symbiogenesis (Sagan, 1967), or the assimilation
>>> of factors in the environment that threaten homeostasis, including the
>>> elements in the Cosmos, the latter being an exaptation (Gould and Vrba,
>>> 1982) of Stellar Nucleosynthesis (Hoyle, 1946), or the serial chemical
>>> reaction of hydrogen and helium to form the stars, the elements being their
>>> byproducts in the exact order of their atomic masses as thec
>>> Your comments and criticisms are welcomed.
>>>
>>> Best, John
>>>
>>>
>>> _______________________________________________
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>>>
>>
>>
>> --
>> Dr. Mark William Johnson
>> Faculty of Biology, Medicine and Health
>> University of Manchester
>>
>> Department of Science Education
>> University of Copenhagen
>>
>> Department of Eye and Vision Science (honorary)
>> University of Liverpool
>> Phone: 07786 064505
>> Email: johnsonmwj1 at gmail.com
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> INFORMACI?N SOBRE PROTECCI?N DE DATOS DE CAR?CTER PERSONAL
>
> Ud. recibe este correo por pertenecer a una lista de correo gestionada por
> la Universidad de Zaragoza.
> Puede encontrar toda la informaci?n sobre como tratamos sus datos en el
> siguiente enlace:
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> Recuerde que si est? suscrito a una lista voluntaria Ud. puede darse de
> baja desde la propia aplicaci?n en el momento en que lo desee.
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Subject: Digest Footer

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End of Fis Digest, Vol 129, Issue 61
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