On the Move: A Life

by Oliver Sacks

art is the escape from personality.

At worst, one is in motion; and at best, Reaching no absolute, in which to rest, One is always nearer by not keeping still.

I really do think that, in some collective sense but obviously without any contact, several of us are working towards a common goal rooted in a theory of contingency.

Humans are storytelling creatures preeminently. We organize the world as a set of tales. How, then, can a person make any sense of his confusing environment if he cannot comprehend stories or surmise human intentions? In all the annals of human heroics, I find no theme more ennobling than the compensations that people struggle to discover and implement when life’s misfortunes have deprived them of basic attributes of our common nature.

in Edelman’s view, very little else is programmed or built in. A baby turtle, on hatching, is ready to go. A human baby is not ready to go; it must create all sorts of perceptual and other categorizations and use them to make sense of the world—to make an individual, personal world of its own, and to find out how to make its way in that world. Experience and experiment are crucially important here—neural Darwinism is essentially experiential selection.

Where perception of objects is concerned, Edelman likes to say, the world is not “labeled”; it does not come “already parsed into objects.” We must make our perceptions through our own categorizations. “Every perception is an act of creation,” as Edelman says. As we move about, our sense organs take samplings of the world, and from these, maps are created in the brain. There then occurs with experience a selective strengthening of those mappings that correspond to successful perceptions—successful in that they prove the most useful and powerful for the building of “reality.”

The players are connected. Each player, interpreting the music individually, constantly modulates and is modulated by the others. There is no final or “master” interpretation; the music is collectively created, and every performance is unique. This is Edelman’s picture of the brain, as an orchestra, an ensemble, but without a conductor, an orchestra which makes its own music.