- #36
Fewmet
- 406
- 37
Perhaps this is tangental to where the discussion has gone, but I've just discovered the thread...
Douglas Hofstadter, in Godel, Escher, Bach, questions whether the instructions to make a given set of proteins can really be said to be stored in DNA. His discussion is extensive (being woven through several chapters), but it comes down to asking how much of that information is in the base sequences in the DNA and how much is added by the chemical context in the cell? By analogy, he asks how much of the meaning of a text (like the Rosetta stone) is in the characters and how much is in the context provided by the culture? Or how much of the emotional response to a song is in the melody or chord sequence and how much is added by the listener? How much of the meaning of a John Cage composition is carried by the context of the tapestry of western music?
He also refers to Schrodinger's observation that humans expect to find meaning in aperiodic crystals: things that show regular form on level level but not on another. A book (being a bound, orderly stack of rectangular pages with markings on the pages that are draw from a small set of characters) has a regular form. The order of of the markings, however, is not obviously patterned until a decoding mechanism is found.
It's a very engaging discussion, which I probably do not do justice to in my summary.
Douglas Hofstadter, in Godel, Escher, Bach, questions whether the instructions to make a given set of proteins can really be said to be stored in DNA. His discussion is extensive (being woven through several chapters), but it comes down to asking how much of that information is in the base sequences in the DNA and how much is added by the chemical context in the cell? By analogy, he asks how much of the meaning of a text (like the Rosetta stone) is in the characters and how much is in the context provided by the culture? Or how much of the emotional response to a song is in the melody or chord sequence and how much is added by the listener? How much of the meaning of a John Cage composition is carried by the context of the tapestry of western music?
He also refers to Schrodinger's observation that humans expect to find meaning in aperiodic crystals: things that show regular form on level level but not on another. A book (being a bound, orderly stack of rectangular pages with markings on the pages that are draw from a small set of characters) has a regular form. The order of of the markings, however, is not obviously patterned until a decoding mechanism is found.
It's a very engaging discussion, which I probably do not do justice to in my summary.