Late morning. After a bad night of trying to
sleep on the couch in the living room and then the couch in the media room
(both are too low for comfort), you suggested the upstairs twin bed (Carol’s
old bed from home and Overseas, the other Mary Lou slept on) you and Linda
dismantled it and brought it down and put it up. The physical therapist, Tara,
who was left a short time ago, said the bed is fine for her (and Carol is much
more comfortable. Carol did well with her exercises though her knee degree from
88 to 86 was lower (because of the couches) it should be back to 88 degrees out
of 90. Dr. Thomas is well please. The thinking is that within two weeks Carol
should be back to living a more normal life and well on the way to a full
recovery. Presently she is on the phone with Mary Lou so some normalcy has
already set in. – Amorella
1117
hours. I am relieved that Carol is more comfortable and with the bed downstairs
she will have a much better night. Her pain is well controlled and that is very
good as well. Linda is right on top of the situation and this is excellent for
Carol as well. As they are on the phone I returned to the living room. I can
take only so much sister-talk – about five minutes is my limit.
You
were checking the Geno.2 Project online and found material you had not seen
before. - Amorella
** **
Geonographic
Project/ Why Am I Denisovan
When our ancestors
first migrated out of Africa around 60,000 years ago, they were not alone. At
least two of our hominid cousins had made the same journey—Neanderthals and
Denisovans. Neanderthals, the better known of the two species, left Africa
about 300,000 years ago and settled in Europe and parts of western Asia. The
Denisovans are a much more recent addition to the human family tree. In 2008,
paleoanthropologists digging in a cave in southern Siberia unearthed a
40,000-year-old adult tooth and an exquisitely preserved fossilized pinkie bone
that had belonged to a young girl who was between five and seven years old when
she died.
Recently,
scientists successfully extracted nuclear DNA from the pinkie bone and
conducted comparison studies with the genomes of modern humans and
Neanderthals. Studies show the girl was closely related to Neanderthals, yet
distinct enough to merit classification as a new species of archaic humans,
which scientists named “Denisovan” after the cave where the pinkie bone was
found. The Denisovan genome also suggests the young girl had brown hair, eyes,
and skin.
Surprisingly, the scientists found genetic overlap between the
Denisovan genome and that of some present-day east Asians, and, in particular,
a group of Pacific Islanders living in Papua New Guinea, known as the
Melanesians. It appears the Denisovans contributed between 3 to 5 percent of
their genetic material to the genomes of Melanesians. Scientists think that the
most likely explanation is that Denisovans living in eastern Eurasia interbred
with the modern human ancestors of Melanesians. When those humans crossed the
ocean to reach Papua New Guinea around 45,000 years ago, they brought their
Denisovan DNA over with them.
If this genetic mixing did occur, the fact that Denisovans were
discovered in Siberia but contributed to the genomes of modern humans living in
Southeast Asia suggests the species ranged widely across Asia, although their
low genetic diversity also indicates their numbers were never very high.
According to one theory, Neanderthals, Denisovans, and modern
humans are all descended from the ancient human Homo heidelbergensis.
Between 300,000 to 400,000 years ago, an ancestral group of H.
heidelbergensis left Africa and then split shortly after. One branch
ventured northwestward into West Asia and Europe and became the Neanderthals.
The other branch moved east, becoming Denisovans. By 130,000 years ago, H.
heidelbergensis in Africa had become Homo sapiens—our ancestors—who
did not begin their own exodus from Africa until about 60,000 years ago.
By comparing the
genomes of apes, Denisovans, Neanderthals, and modern humans, scientists hope
to identify DNA segments unique to the different groups. Early results already
suggest modern humans underwent genetic changes involved with brain function
and nervous system development, including ones involved in language
development, after splitting from Neanderthals and Denisovans. Identifying and
understanding these genetic tweaks could help explain why our species survived
and thrived while our close relatives died out.
From - https://genographic.nationalgeographicDOTcom/denisovan/
** **
1148
hours. While reading the above article I realized that my Grandma Stories still
had a sense of my own genealogy. Early I thought, surely I am not related to
those in Grandma’s Stories that are from the Far East, such as China, Korea and
down into Southeast Asia, but here, being 3.1 percent Denisovans I can now say
it is possible, not highly probable but Denisovans genes are what they are. It
is one thing to say we are all connected but I was thinking Homo sapiens alone and
it turns out we are, most of us, connected genetically from Homo sapiens, going
further back almost four hundred thousand years.
This means next to nothing or even nothing
to many people but for orndorff it adds to his immediate imagination that is
important in his sense of authenticity with the characters in all the Merlyn
stories. This allows him to make his characters more real in his head. This may
not address itself in the stories themselves but it allows him to reach further
back in how it must have been some three or four hundred thousand years ago for
those of higher consciousness among those who may had not had the time or
circumstance to develop this consciousness yet. – Amorella
1229
hours. I wonder how it would have been to have had a developing mind and heart without
a soul? From the tools and artwork that has been found there were inklings of
heart, surely there was family bonding which would lead to a sense of love for
one’s parents or guardians and for one’s own offspring. This can be seen in
lower primates as well as other animals – a sense of play, a sense of comfort
in touching, in the sharing of food, in protection of the group. Heart surely
would have grown from such experiences. It is the recognition of the sense of
the soul (possibility of surviving physical death) that would be last to add.
We can work with this line of thought
orndorff. – Post. – Amorella
Two other health professionals arrived and
pronounced Carol fit in her present circumstance. Both had tips for her comfort
and for accessibility with the walker with wheels. Everyone had leftovers for
supper. Carol and Linda both enjoyed the rest of their Chipotle lunch burrito
bowls. You watched some television then both were to bed in the media room. You
have been thinking about the rerun of last year’s PBS’s Endeavor series,
“Sway” which you just watched once again. You began to think on your quest in
writing and how writing, particularly getting into the heart of the character
allows you to live-the-moment in any time period you wish. You have the
willing-suspension-of-disbelief to do so within context of character, setting,
plot and theme. – Amorella
** **
Suspension of disbelief
From Wikipedia,
the free encyclopedia
Suspension
of disbelief or willing suspension of
disbelief is a term coined in 1817 by the poet and aesthetic philosopher
Samuel Taylor Coleridge, who suggested that if a writer could infuse a
"human interest and a semblance of truth" into a fantastic tale, the
reader would suspend judgment concerning the implausibility of the narrative.
Suspension of disbelief often applies to fictional works of the action, comedy,
fantasy, and horror genres. Cognitive estrangement in fiction involves
using a person's ignorance or lack of knowledge to promote suspension of
disbelief.
The
phrase "suspension of disbelief" came to be used more loosely in the
later 20th century, often used to imply that the burden was on the reader,
rather than the writer, to achieve it. This might be used to refer to the
willingness of the audience to overlook the limitations of a medium, so that
these do not interfere with the acceptance of those premises. These fictional
premises may also lend to the engagement of the mind and perhaps proposition of
thoughts, ideas, art and theories.
Suspension of disbelief is often an essential element
for a magic act or a circus sideshow act. For example, an audience is not
expected to actually believe that a woman is cut in half or transforms into a
gorilla in order to enjoy the performance.
Coleridge's original
formulation
Coleridge
coined the phrase in his Biographia
Literaria, published in 1817, in the context of the creation and reading of
poetry. Chapter XIV describes the preparations with Wordsworth for their
revolutionary collaboration Lyrical
Ballads (first edition 1798), for which Coleridge had contributed the more
romantic, gothic pieces including The
Rime of the Ancient Mariner. Poetry and fiction involving the supernatural
had gone out of fashion to a large extent in the 18th century, in part due to
the declining belief in witches and other supernatural agents among the
educated classes, who embraced the rational approach to the world offered by
the new science. Alexander Pope, notably, felt the need to explain and justify
his use of elemental spirits in The Rape
of the Lock, one of the few English poems of the century that invoked the
supernatural. Coleridge wished to revive the use of fantastic elements in
poetry. The concept of "willing suspension of disbelief" explained
how a modern, enlightened audience might continue to enjoy such types of story.
Coleridge recalled:
”... It
was agreed, that my endeavours should be directed to persons and characters
supernatural, or at least romantic, yet so as to transfer from our inward
nature a human interest and a semblance of truth sufficient to procure for
these shadows of imagination that willing suspension of disbelief for the moment,
which constitutes poetic faith. Mr. Wordsworth on the other hand was to propose
to himself as his object, to give the charm of novelty to things of every day,
and to excite a feeling analogous to the supernatural, by awakening the mind's
attention from the lethargy of custom, and directing it to the loveliness and
the wonders of the world before us ...”
The notion of such an action by an audience was
however recognized in antiquity, as seen particularly in the Roman theoretical
concerns of Horace, who also lived in an age of increasing skepticism about the
supernatural, in his Ars Poetica. . .
.
Psychology
Psychological
critic Norman Holland points to a neuroscientific explanation. When we hear or
watch any narrative, our brains go wholly into perceiving mode. They turn off
our systems for acting or planning to act. With them go our systems for
assessing reality. We believe. We have, in Coleridge's second, more accurate
phrase, “poetic faith.” That’s why humans have such trouble recognizing lies.
We first believe, then have to make a conscious effort to disbelieve.
Only
when we stop perceiving to think about what we have seen or heard, only then do
we assess its truth-value. Watching a movie or reading a story, if we are
really “into” the fiction, “transported,” in the psychologists' term, we are,
as Immanuel Kant pointed out long ago, “disinterested.” We respond
aesthetically, without purpose. We just enjoy. We don’t judge the truth of what
we’re perceiving, even though, if we stop being transported and think about it,
we know quite well it’s a fiction.
Suspension of disbelief has also been used within a
mental health context by Frank DeFulgentis in his book Flux. It is an
attempt to describe the phenomenon of forgetting irrational thoughts associated
with cases of OCD. In the book, the author suggests 'suspending disbelief' as
opposed to forcing ourselves to forget; similar to how one would put a virus in
quarantine. We can thereby allow ourselves to be absorbed in the activities
around us until these irrationalities vanish on their own accord. . . .
Criticisms
As in
the examples of Superman's powers and Gary Larson's cartoon, it is unclear that
suspension of disbelief correctly describes an audience's perception of art. If
the theory were to be true, the individual events of suspension would appear to
be highly selective. (It would appear that one chooses to suspend disbelief for
the ability to fly, but not to suspend it for myopic co-workers.)
Aesthetic
philosophers generally reject claims that suspension of disbelief accurately
characterizes the relationship between people and "fictions." Kendall
Walton notes that, if viewers were to truly suspend disbelief at a horror movie
and accept its images as true, they would have a true-to-life set of reactions.
For instance, audience members would cry out, "Look behind you!" to
an endangered on-screen character or call the police when they witnessed an
on-screen murder.
However,
many of these criticisms simply fail to notice that Coleridge's original
statement came in a restrictive clause. The formulation "...that willing
suspension of disbelief for the moment which constitutes poetic faith," of
necessity implies that there are different sorts of suspension of disbelief and
specifies that poetic faith is one instance of a larger class. One need not
choose to believe that a character in a horror film is a real person in order,
for example, to choose to believe that the character is looking at the building
seen in the following reverse-shot. More often than not, both beliefs would be
equally false.
Not all authors believe that suspension of the
disbelief adequately characterizes the audience's relationship to imaginative
works of art. J. R. R. Tolkien challenges this concept in his essay “On
Fairy-Stories”, choosing instead the paradigm of secondary belief
based on inner consistency of reality. Tolkien says that, in order for the
narrative to work, the reader must believe that what he reads is true within
the secondary reality of the fictional world. By focusing on creating an
internally consistent fictional world, the author makes secondary belief
possible. Tolkien argues that suspension of disbelief is only necessary when
the work has failed to create secondary belief. From that point the spell is
broken, and the reader ceases to be immersed in the story and must make a
conscious effort to suspend disbelief or else give up on it entirely.
Selected and edited from Wikipedia
** **
2257
hours. Coleridge has been an early and continuing influence on my sense of poetry and literature; although,I believe Tolkien has a valid point. The weaknesses in the Merlyn’s
books is that while I have the willing-suspension-of-disbelief I do not
adequately deliver this on to the reading audience. In that sense this shows
that I don’t really give much of a damn about the reader as long as I am
transported ‘elsewhere’ out of this earthly environment, i.e. physics-in-totality.
My place, within the story is being within Merlyn’s heartansoulanmind. This is
where I am within the series as a whole, both series.
You have a point, boy. The reader does not
see the holistic aspect of you the writer, nor should they. The reader wants a
story with an introduction, characters, plot, theme and a genuine conclusion to
bring the work together. But you forget, the main theme of the work is on the existential
circumstance of ‘being’ Homo sapiens and how this works between the lines, at
least within the Merlyn books, both series. You are the human being; you feel
you are spiritually not native to the physics in which you exist.
Heartansoulanmind is the Reality of what Humanity is. It is the essence of ‘being’
into itself for each person. The senses of the heartansoulanmind need no eyes,
ears, tastes, smells and touch to understand existence particularly with others
of similar species. You have to start somewhere and that is your premise. Mind
and Heart are important, but it is the soul that comes first, before the mind
and the heart. The body is secondary and this is seen in proof upon physically
dying and still being conscious of a state of existence. This is your thinking,
your consideration of the moment. Post. – Amorella
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