In a hermetic system (see The Airtight Garage) the relation to reality is not physical but a type of coded program/routine. This is why DNA is the height of illusion, since on the one hand it's highly convincing - almost a panacea - and on the other it is simply random information.
How can something random be a panacea? For the reason that acolytes enter a parallel reality or the vanishing-point of technique, represented by the mirror of illusions (perspective, algorithm, number.)
Inside the mirror of illusion, techniques are practiced by the process of logical assumptions. One example is gene-editing, they delivers disease-free vegetables. However, within the mirror of illusions resides the profane serpent of corrupt rhythm - see 'clean meat'.
Freedom from disease in a natural-system is simply a product of balance between predators/prey in an ecosystem - the physical reality. The parallel system occupies a parallel reality where proportionate growth - in animal or plant - becomes irrelevant. It is information-based, algorithmic.
What this implies is that gene-editing and fiddling with DNA for disease control does not take account of the proportions of the body that enable active pursuits in natural settings.
However, the latter is clearly the original source of health. Benign bacteria exist in the soil that humans in history have been exposed to. The exposure is a form of disease-prevention.
Culture that is a part of nature is exposed to cyclical processes; decomposition and revival with the seasonal variations. This exposure is a physical by-product of active life in-the-fields.
The basic point is that, while a hermetic system is governed by rules of logic (appealing to the heads of acolytes), a natural-system - communal or eco - is illogical.
As has been already noted, it can only be governed by opposites or antagonistic forces such as muscles, that supply proportionate balance in active situations. The 'facts' of modernity are highly convincing, but only within the hermetic system (of logic.)
The more convincing these facts become the more likely it is they exist within the mirror of illusions that attracts the head of acolytes. Within the mirror exists the profane serpent that distorts balanced, proportionate human or animal forms.
Only with a proportionate system can the profane serpent be deterred by what are the normal functions of active life of a coordinated, communal style. Hunting, slaughtering, dismembering and storing game, scything, carpentry - see next post.
That is, a coordinated or communal reality where the psyche has a means of expressing itself in song, patois (as in the cowboy on the range, say.)
Of course 'they' will simply keep churning-out their DNA-style facts that are seemingly convincing, so one way to approach this is via an area of alternative facts. That is to say, not from inert DNA studies, but from animate studies.
The idea that a skeleton can be designed without animation is preposterous, as a brief look at Walt Disney makes apparent.
The artists at Disney in the 30s learned animation by a process of incremental study using free linework. The study of anatomy or animation is an incremental destiny of draftsmanship, in much the same way as Leonardo da Vinci's in The Virgin of the Rocks (prev.)
A line creates movement, and that is how animation is engineered. From the movement comes the ability to humorise situations, such as these balletic parodies. The musical atmosphere is cleverly synced to anthropomorphic behaviour.
The idea that the movements of a skeleton - and the body encasing it - can be discovered without animation is preposterous. It took Disney 10 years and it takes nature 10 million, but the process is the same. The evolution of line in contrapuntal situations of activity.
This makes it obvious that evolution is illogical, and involves contrapuntal opposites that must be balanced in proportionate ways. As Corneille (prev) said,
The illogical borrows from the logical.
An illogical system contains logic for obvious reasons; but the contrary is not the case. A logical system is a hermetic one.
The contrapuntal system of opposing elements clearly also allows for humour; the cheekiness of a donkey's ears, say. The alternate facts were explored by Disney and are in a sense vastly more real than are the hermetic'facts' of a DNA-style science.
Of course, 'they' will say nothing in nature is designed, but the fact is that contrapuntal elements have to involve a design in the fo of balance and proportion. Only a logical system can do without design, but that is sheer random chaos.
DNA is illusory for the reason the random element is needed for a logical system (that is not innately balanced.) The sequences that we see in Disney are the result of contrapuntal antagonism, and not of logic.
Any logical system produces convincing results, but they are bound to invoke the profane serpent of corrupt rhythm. The elements of balance and proportion (of a body) are outside the system. It is purely of the head (of acolytes of the mirror of illusions, algorithm, number).
A hermetic system tends towards sameness mainly owing to its lack of reliance on linework (after all, Alchemy never changed reality as modern techniques do!)
Personally, as a fan of early Disney, innovations have a way of peaking, and Pixar represents a decline. A decline into what is really copying algorithmically instead of exploring a situation with expressive line.
Pixar is essentially entering the mirror of illusions where there is a type of sameness to things. Is it fantasy or reality? Who knows? Sameness is a type of disease of modernity resulting from the vanishing-point of technique.
Pixar is convincing but not atmospheric, and tends to nullify the imaginative faculty in kids. Anime tends to retain a painterly approach despite the techniques they use like motion-capture, and so the magic is there still. Without atmosphere and suggestion what you could call the psychic dimension is lacking. Without the psyche, what is there?
