Origin Of Art Unfolded: The Isis Thesis
- Dear Friends,
Love and Light.
Origin of Art Unfolded: The Isis Thesis (Tracing Eternity from Here to Paradise Cloned)
by Judy King
For those skeptics who are not mystically inclined, who trust in virtually no explanation at all, and who are not receptive to grand narratives, is it possible that you still believe in science? Nature, which scientists explore and creative artists extol, is the grandest narrative. We are part of Nature, and many of us understand that within her heart is a haunting melody of Miltons Paradise Regained, an explanation of what we can become, the scent of an origin that all creative artists and scientists crave. The poet Rilke called it a trace of Eternity, something hostile in its sublime indifference, the medium of an autonomous art that he identified with Death.
Even Nobel Laureate Werner Heisenberg wondered: Was it utterly absurd to seek behind the ordering structures of this world a consciousness whose intentions were these very structures?
Heisenbergs Uncertainty Principle is very similar to Jacques Derridas trace or track, the mark of an origin or presence. Whereas the Uncertainty Principle tells us we can measure the track of large objects in our universe, it also explains that we cannot measure the track of subatomic particles in the quantum realm. Put simply, the more we know about one-half, the less we know about the other half. To Derrida, the sign marks a structure of difference, one-half not always there, and the other half not always that. The structure of the sign is a trace challenging logic, an origin of that Other, that presence which is absent. Nietzsche would blame this impasse on our will to power that forces us to define every sign anthropomorphically, veiling the origin that forever retreats.
Certainly, there is no real problem here. Rilke, Heisenberg, Derrida and Nietzsche are simply talking about the difference between our classical world and the biological realm of quantum physics. To prove this, a radical study has lifted the veil of Isis on Death, the Other and the origin. The Isis Thesis is critical scientific research that challenges currently held beliefs and theories on the meaning of Egyptian funerary texts, art and architecture by accounting for more of the data. Grounded in biosemiotics (biology interpreted as sign systems), the study explains Natures uncertainties that the Pharaohs understood. Put simply, Egyptian deities represent proteins and other molecules defining a pathway for horizontal gene transfer at human death.
Researcher and former college English instructor Judy K. King devised a unique methodology and spent three grueling years of fulltime investigation decoding eight major funerary texts spanning 2000 years. The study, which King recently presented at the Third International Humanities Conference at the University of Cambridge on August 3, 2005, reveals that the Pharaohs were aware of bacterial genetics, space physics, quantum physics, and microbiology, including recent research in cosmology related to String Theory and Black Hole Theory. Kings paper entitled Biosemiotics in Ancient Egyptian Texts: the Key to Long-Lost Signs Found in Myth, Religion, Psychology, Art and Literature was refereed and accepted for publication in the International Journal of Humanities.
From Here to Death
More and more scientific evidence is supporting evolutionary gene shuffling through horizontal gene transfer mediated by bacteriophage, the most abundant bacterial virus on our planet that act as carrier molecules or ferryboats for gene fragments. Even the human genome analysis proves that viruses made us what we are today with an intrusive donation from bacteria of hundreds of genes encoding at least 223 proteins. In our biosphere, we are surrounded by microbes and our bodies are composed of one hundred quadrillion (100,000,000,000,000,000) bacterial cells. Kings research confirms that horizontal gene transfer mediated by bacteriophage Lambda is an accelerated pathway to a fitness peak, an escape from genetic confinement or an evolutionary dead end. The Pharaohs hid this survival message within their hieroglyphic sign system.
Buried in the pyramids of the Kings and the tombs of the nobility, the wisdom remained masked in a religious literature, even though Jean-Francois Champollion cracked the code for Egyptian hieroglyphs in 1822. Since then, scholars have struggled with little success to interpret the hidden meaning of the dual-signified signs and symbols with related artwork. Many Egyptologists have dismissed the funerary corpus as confusing, unintelligible and primitive, redirecting their efforts to excavations and preservation of artifacts. On the other hand, modern science is taking great strides, but has only recently discovered in 1944 that genetic material can be transferred from dead cells to live cells. Even though microbial history on earth spans about four billion years, we still stand godlike, wobbling on our short-lived pinnacle of evolution--unaware that horizontal gene transfer is possible for humans after death.
From Death to Lower Life-forms
Kings study claims that the sign is related to a biological consciousness that dwells in the uncertain subatomic realm, and that the Pharaohs were able to measure the structures in our large universe to explain this transcendent consciousness or trace within the sign.
Two points. First, the Pharaohs claim that consciousness is the ground of our being--not matter, and with knowledge, the deceased has a choice of two paths. The road not taken leads to evolvability or horizontal gene transfer; the other path is the Highway to Hell, what the Pharaohs called a second death. This, of course, is simply the conscious experience of being eaten or recycled by bacteria.
Second, in the Twenty-first century, String Theory T-Duality explains to us what the Pharaohs knew in 2520 BCE. The mathematics of T-Duality support that at tiny quantum scales, our universe looks just the same as it does at massive scales. This means that if the earth were to shrink to a size smaller than a grain of sand, it would be similar to a tiny cell. The Pharaohs believe this shrunken earth-cell operates like an E. coli bacterial cell, what they call the Duat, the place of transformation. The deceased makes his way in the earth-cell Hell through the valley of the Great-one (Coffin Texts 1079 and 1086); he has not walked in the valley of darkness (1099), for he merged with the Sun-god, the sign for bacteriophage Lambda, the carrier molecule or ferryboat for the human genetic essence. So it is that the proverbial Valley of Death is simply a protein-folding valley of darkness for the deceaseds transformation in a bacterial host cell into clones or energy ascending to the
From the Host Cell to the Viral Origin
Still, what does all this have to do with the origin of art? Creative artists have attempted to explain this survival message to us through their literature, their music, and so on. For instance, it is interesting that the architecture of Dantes Inferno depicts the earth as pierced in the northern hemisphere to the center by a hole shaped like an irregular cone or funnel. Dantes circles of hell are like the circles of the Egyptian Duat, his monster Dis is Apopis, Beatrice is Isis, and the ferryman Charons counterpart is the Egyptian ferryman or Sun-god. Likewise, Dante describes Paradise as nine material spheres beyond which is the Empyrean, a region outside of spacetime. This clearly mirrors the Egyptian passage to the stars through the black-hole Duat into what scholar Kurt Sethe has translated as white hole (Pyramid Text 291), which the Pharaohs also represent by their cone-shaped White Crown. In astrophysics, a white hole is a body that spews out matter or a black hole
running backward in time. If a black hole (Duat or Dantes Hell) connects to a white hole and its blue sheet, a wormhole or Einstein-Rosen bridge is generated. Thus, we have the passage of both Dante and the Pharaohs through a wormhole, a survival route to a region beyond spacetime, a timeless origin before the existence of matter. The Isis Thesis supports this process with evidence, while flinging one final spin on the idea: on the quantum level, this wormhole represents two different DNA protein folding funnels related to horizontal gene transfer mediated by bacteriophage Lambda.
Dantes Divine Comedy bears the same survival message as the Egyptian funerary texts. The origin of art is the preontological memory of our biological beginnings, the trace of an indifferent Other, the molecular machine known as bacteriophage Lambda in the quantum world.. As Milton said, Hard are the ways of truth, but it cannot be overstated: in the beginning was the bacteriophage.
There is much more literary evidence for this dual cosmological (classical universe) and biological (quantum universe) origin of art, which The Isis Thesis unveils in Volume 2, a surreal novel explaining the science in the study, while connecting the science to art. This story called The Road from Orion is woven with fictional and historical characters, famous creative artists, historical facts and great art, literature, philosophy, music, psychology and religion, and the text is designed for undergraduate study. The plot traces the aborted spiritual quest of two college students struggling to decode the Egyptian legacy as they confront the experimental cloning demands of a rebellious scientist who authored The Isis Thesis. On the other hand, the study itself or Volume 1 may require an interdisciplinary effort for instruction in literature courses.
From Osiris to Christ
Lambda has two lifestyles: when it chooses lysogeny, it injects its DNA into the host cell, where it falls asleep like Miltons Fawning Parasite or goes dormant on the host cells DNA next to the lactose gene. The dying/rising deity Osiris is the biological sign for bacteriophage Lambda. When Lambda chooses lysis, it wakes up from the dead, activates the nutrient lactose right next door to produce millions of clones that escape from the cell in a great flood. The Milk-goddess Isis is the biological sign for the lactose proteins and genes responsible for production of the sugar lactose in bacteria. One of these DNA-binding proteins forms a remarkable DNA loop structure that looks like the Egyptian ankh or life sign. Located at the lactose genes where the Lambda genome (Osiris) is lodged, this DNA-binding protein that loops the DNA like the ankh is also referred to as the tiyet or Isis-knot. Thus, the lactose (Isis) is tied off for Lambdas excision from the cell (Osiris rising from
the dead), and we understand the effaced meaning of the Egyptian ankh and the tiyet.
Lambdas lifestyles (and other chemical reactions related to proteins) mirror religious themes that have migrated through History, such as the dying/rising god, the cross, the brother rivalry over the throne, virgin birth and the great flood. Osiris was the first dying/rising god or biological sign representing the dying/rising Lambda. History, unaware of the signs meaning, then dribbled the idea of Osiris down through Time as other dying/rising gods such as Dumuzi (Sumer), Mithra (Persia), Attis (Phrygia), Adonis (Greece) and finally Jesus Christ. As the French poet and dramatist Antonin Artaud said, laugh if you like, what has been called microbes is god.
Full of discoveries about the origin of Nature and art, The Isis Thesis shows that the Pharaohs overcame three temptations. They faced the indifference of Death by discovering Natures survival message, they defied anthropomorphism by understanding signs as biological entities, and they delivered Derridas uncertain not-there-not-that Other by tracing humanitys origin in the quantum realm. The dead Pharaoh traveled from here to Paradise cloned, and perhaps we can too, with the knowledge in the Egyptian funerary texts.
As Mahler wrote in his symphonic Drinking Song of Earths Misery, "Dunkel ist das leben, ist der Tod" ("Dark is life; dark is death"). The Pharaohs offer us a disquieting knowledge loaded with Heisenbergs consciousness that ordered the structures of this world. As Milton laments in Paradise Regained: Man falln, shall be restord, I never more. With this knowledge of self-transcendence, we should fear not, for the Pharaohs are bringing Man into the day, where the day is the night of the moon. In the moonlight, they have lit a matchstick to reflect the primal light of Lambda, the trace of Eternity.
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The Isis Thesis includes a study (Vol. 1) and a novel called The Road from Orion (Vol. 2), which explains the thesis in a story format. The novel was written for readers who prefer information in a story format rather than a cited thesis. For an online interview with Judy King, see: www.thothweb.com/content-288.html On August 3, 2005, King attended the Third International Humanities Conference on New Directions in the Humanities and presented research from The Isis Thesis at the University of Cambridge, UK. A paper entitled Biosemiotics in Ancient Egyptian Texts: The Key to Long-Lost Signs Found in Myth, Religion, Psychology, Art and Literature was refereed and accepted for publication in the 2005 International Humanities Journal. The paper can soon be purchased for a nominal fee at http://ijh.cgpublisher.com
These pages are the copyright of Envision Editions, Ltd., November 25, 2005, which welcomes the reproduction and dissemination of these pages, in original, unaltered form, for non-commercial purposes. When reproducing this article, this notice must be left intact and accompanied by a link to www.isisthesis.com. Permission must be sought for any other usage, other than 'fair dealing' quotations.
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