[Fis] The genesis of art, love and wellbeing

[Paul Suni]

Dear Pedro,

You opened a wonderfully complex topic connecting art, love and wellbeing
and challenged us to think about it in the context of biological
capabilities. Whereas László's mathematical approach to art no doubt has
value, the messy good stuff of interiors including love and individual
wellbeing, also remains under-explored, in courageous ways.

The Satin Bower Bird is an amazing artist, whose creations of bowers
exceeds the aesthetic creative capacities of most individual humans, in my
personal opinion. Science says that the Bower Bird creates its elaborate
and aesthetically complex formations because of evolutionary sexual
selection, but I strongly disagree with Science.

I assert that the male Bower Bird engages in its sustained and extremely
focused artistic activity, because it provides a rich and fulfilling
interior experience for the individual bird, which could be partly
substantiated through chemical analyses of its neurotransmitter metabolism.
It  is a meticulous labor of love that has absolutely nothing to do with
reproduction.

After all, the birds do not participate in scientific discourse concerning
reproduction or evolutionary theory, at all.  Furthermore, I hypothesize
that the bird enjoys the specific degree of difficulty of his creation,
which is a biochemically testable hypothesis, I claim. This raises the
question of the bird's " human potential." The bird spends 9 months of the
year toiling with its creation, and it sticks to his aesthetic project for
as long as 30 years, like a true artist - a veritable Leonardo. There are
easier ways to get laid, but toiling away is far more deeply meaningful for
the bird.

The artistic activity of the Bower Bird nourishes its little bird soul with
expansive, love-like feelings ostensibly not entirely unlike Zohran Mamdani
experiences when he engages with his idea of the " warmth of collectivism."
In its creative love state, the bird is surely as oblivious to the genetic
implications of its artistic activity as Mamdani is to the demonstrably
potential genocidal implications of his love for collectivism. This state
of ignorance is extremely relevant to our discourse on art. I do not mean
to offer the analogy as a joke.

Young male Bower Birds have the biopsychological capacity to develop their
personal aesthetic sensibilities through sustained independent study of the
works of senior Bower Birds. This can be seen from the countless sketchy
assemblages that must be produced during their artistic development, before
the first satisfactory bower is produced, and female birds care to take a
discerning  look, which requires an aesthetic sensitivity, no doubt!

That brings me to the delight that the male Satin Bower Birds bring to the
female Satin Bower Birds, who spend considerable time enjoying and
carefully assessing the aesthetic merits of beautiful bowers as well as
admiring the cognitive and practical prowess of their sensitive male
suitors. I emphasize to scientists that most of what I say could be
scientifically substantiated, if science adopted a mature attitude towards
sentience, and regarded the rich and fulfilling experiences of Bower Birds
as important.

Thank you Pedro and FIS colleagues for tolerating some of my surely
annoying repetitions. I have received encouragement for them in private
communications, and hope that the academic trance in which we are supposed
to be held may begin to lift slightly, in my lifetime. Unfortunately, it is
the way of academia to protect its psychopathic hold on its intellectual
hegemony by shifting content in and out of the same old frames only to
change the race, gender, politics and sex organs of its victims, while
disseminating its toxicities into society at large.

Cheers,
Paul
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