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Dawkins accounts for desire as a necessary biological impulse required for reproduction <strong>and</strong>thus the self<strong>is</strong>h preservation of a self’s own genetic make up, “The evolutionary importance ofthe fact that genes control embryonic development <strong>is</strong> th<strong>is</strong>: it means that genes are at least partlyresponsible for their own survival in the future, because their survival depends on the efficiencyof the bodies in which they live <strong>and</strong> which they help <strong>to</strong> build” (Dawkins 1978 p. 25). He skatesover the <strong>is</strong>sue of incestuous relationships, save w<strong>here</strong>, the mingling of genes <strong>to</strong> strengthenchances of survival <strong>is</strong> deemed <strong>to</strong> be a good thing <strong>and</strong> less likely if mating occurs with a self thatpossesses the same genetic makeup (i.e. a self’s parents). Damasio’s research prompted him <strong>to</strong>conclude that the physiological modifications through which a self passes during a stimulusresponseoperation are embedded in memory <strong>and</strong> are re-enacted when causal stimuli are applied<strong>to</strong> the self. “As far as I can fathom, few if any perceptions of any object or event, actuallypresent or recalled from memory, are ever neutral in emotional terms. Through either innatedesign or <strong>by</strong> learning, we react <strong>to</strong> most, perhaps all, objects with emotions, however weak, <strong>and</strong>subsequent feelings, however feeble” (Damasio 2004 p. 93)Th<strong>is</strong> accounts for the repugnance experienced <strong>by</strong> a victim of abuse who relives their experienceevery <strong>time</strong> the abuser <strong>is</strong> present <strong>to</strong> them whether or not t<strong>here</strong> <strong>is</strong> physical contact. A compar<strong>is</strong>oncan be made at th<strong>is</strong> point with the work of Timothy Gallwey, <strong>and</strong> the suite of books thatemerged from h<strong>is</strong> seminal text, The Inner Game of Golf. Here Barry Green rehearses anexperience familiar <strong>to</strong> many musicians:“I was a nervous wreck. I felt sick <strong>to</strong> my s<strong>to</strong>mach <strong>and</strong> was certain I would forget themusic I had <strong>take</strong>n such pains <strong>to</strong> learn. Playing in front of the acknowledged masters inone’s field <strong>is</strong> hardly the sort of thing that’s conducive <strong>to</strong> self-confidence <strong>and</strong> ease. Myh<strong>and</strong>s were sweaty, my knees wobbled (which <strong>is</strong> a problem when you’re holding a doublebass), my heart was pounding, <strong>and</strong> I had trouble just breathing comfortably.” (Green &Gallwey, 1986 p.24).52Simon Hughes Ph.D. Thes<strong>is</strong> (Oc<strong>to</strong>ber 2012)

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