I have long appreciated that our intellectual life is governed by feelings of fitness. Take for example grammar and handedness. Some linguistic constructions feel fit, i.e., they are grammatical, like this very sentence is. Others feel awkward, e.g., “Bluebirds the lands the house on nest build to”. No logic required here, just the grammatical intuition of how things are supposed to fit together. Similarly, fold your arms right over left and then left over right and then do the same with your hands. One way will feel more natural, i.e., fit, and the other more awkward. Being right handed means that turning the screwdriver with the right hand feels right and more skillful and turning it with your left is not. Linguistic grammar is analogous to the fit coordinations of handedness. Back in my days as a speech-language pathologist I used this analogy to explain to parents the development of their young child’s grammar. A toddler says ‘tow’ for ‘cow’ and uses abbreviated syntax because that is what feels right to them. Correcting their child’s performance often resulted in the child saying something that felt awkward and wrong to them. As their brains mature and their grammatical feelings change, their speech comes to accord with adult grammar in a most marvelous manner.
So now re-reading Monod’s Chance and Necessity I realize again how important ‘fit’ is to life. In laying out the molecular basis of the genetic control of protein synthesis, Monod discusses how proteins work by folding into particular specific shapes so that they fit into other molecules thereby catalyzing and regulating the molecular biology of cellular function. With the presence of one molecule the protein folds one way and carries out one function and with the presence of another molecule the protein folds another way and carries out a different function, both because the two shapes fit exclusively into different substrates and so engender different chemical processes. He, Wolff and Jacob won the Nobel for discovering this phenomena by studying how yeasts metabolize one sugar at a time and when the supply of that sugar is exhausted, the genetic mechanism directs the shift to metabolize another sugar if present. This shift occurs within minutes of one sugar’s depletion and another’s presence is detected as the synthesis of the new necessary protein increases a thousandfold in a matter of molecular moments. Amazing, and then he goes on to explain how similar processes carry forth the ontogenesis of a new life, even more amazing.
Fitness is not just a concept of evolutionary viability anymore. It would seem to be functional principle in life’s operations, from the replication and transcription of DNA and proteins described above as based on stereotaxic fit between molecules to the grammatical compositions we use for communication (and so much more). I am fascinated by aesthetic fitness, by how the elements of an artistic work fit together coherently to form an integrated whole that shines somehow with felt life. Great art, as I think Aquinas noted so long ago, works with unity, integrity and luminosity. Not so great art misses on one or more of these three dimensions. Bad art simply appeals to some shallow stereotypical emotional response. And somehow, like linguistic structures, aesthetic works result from a composite of neural processes working together in a fit manner.
Now consider the connectome. Monod describes DNA and its accompanying proteins as crystalline structures, not regular repetitive lattices like salt or quartz but aperiodic ones whose components are self organizing like salt’s but whose irregular shapes then fit with other molecules out there initiating chains of process and thereby creating function (based upon the decision points or choices like a binary algorithm). So look at this picture of the connectome in this light and see fluid crystalline molecules lighting up crystalline modules of different functions that must fit together to be operational, and in order to be optimal, must fit according to some linguistic or aesthetic grammar.
Both composing and comprehending linguistic and aesthetic productions involves different modules lighting up and their functional ‘shapes’ fitting together according to their grammatical rules. A stroke can hinder or prevent the parts fitting together so the patient is aphasic or has amusia. Cultural expectations shape what is considered fit, so that some music seems to violate tonal rules and causes consternation, as when Stravinsk’s Rites of Spring premiered to a riotous reception or like when I hear certain music or see certain paintings and wonder why bother. Clearly the notion of ‘fitness’ is important and pervasive.
Finally consider the old myth that creative, e.g., artistic, people use their right hemispheres more. This is one of those statements that sounds good enough for some to believe but that everyone should know is too simple to be true. A brief note from the Duke Chronicle reports some brain research showing that people who rank high on creativity (and how did they assess that? Don’t know.) use both sides of their brain, especially some frontal areas, more than people who rank the lowest on creativity: http://www.dukechronicle.com/article/2017/03/connectivity-between-brain-hemispheres-boosts-creativity-study-finds. This suggests that creativity stems in part from the communication between hemispheres, or following the idea here, that the functional crystals on one side communicate and operate in fit manner through the anterior commissure and corpus callosum with the functional crystals on the other side. Oh, could I go on from here, but enough for now; just look at the connectome and imagine the forms lit up and flashing between the two hemispheres (and don’t neglect subcortical structures). Time to travel on.