Re: Phonosemantics and parallels in the genome (and elsewhere)

From: Zylogy@aol.com
Date: Thu Jan 25 2001 - 17:53:19 GMT

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    Subject: Re: Phonosemantics and parallels in the genome (and elsewhere)
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    Still here. I'll try to find the notes I DO have on hand somewhere. One of
    the things I remember trying to do was to organize the axes of the cube (and
    thus the order of bases on each side) to maximally "balance" for both
    base-pairings AND the two versus three ring character of the base.

    We treat linerizations as if they were basic- yet I'm not totally convinced.
    So I treated each axis as if it were simultaneously linear (in the code cube)
    AND cyclic (to get the balance)- the snake bites its own tail. In many
    perceptual systems, seemingly linear continuua have a linear segment broken
    out of them, and then cyclicity is imposed by us. Witness the way we perceive
    colors. There is a linear frequency cline, but we also have color
    complementarity- think Munsell here. In sound there is octival structure. And
    within it all complementarity rules. Harmony and clash. This was the
    background against which I toyed with the genetic code.

    Dealing with the axes of the cube as if they were cycles generates a
    hypertorus. I still can't remember what I balanced what against- whether it
    was the gas code or the ring number- and whether or not I kept the base
    pairings apposed or made them opposed (though I think I did do this last, so
    that apposed base pairs in the helix became opposed in the axial cyclic
    representation, now that I think of it- kind of iconic). If I did then I
    think I prioritized each of the cube axes differently, so that all possible
    combinations of intersection were instantiated. Obviously I need to work on
    this a bit.

    Jess

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