Memes As Discrete Units
Richard Dawkins initially defined meme as a noun that "conveys the idea of a unit of cultural transmission, or a unit of imitation". John S. Wilkins retained the notion of meme as a kernel of cultural imitation while emphasizing the meme's evolutionary aspect, defining the meme as "the least unit of sociocultural information relative to a selection process that has favourable or unfavourable selection bias that exceeds its endogenous tendency to change." The meme as a unit provides a convenient means of discussing "a piece of thought copied from person to person", regardless of whether that thought contains others inside it, or forms part of a larger meme. A meme could consist of a single word, or a meme could consist of the entire speech in which that word first occurred. This forms an analogy to the idea of a gene as a single unit of self-replicating information found on the self-replicating chromosome.
While the identification of memes as "units" conveys their nature to replicate as discrete, indivisible entities, it does not imply that thoughts somehow become quantized or that "atomic" ideas exist that cannot be dissected into smaller pieces. A meme has no given size. Susan Blackmore writes that melodies from Beethoven's symphonies are commonly used to illustrate the difficulty involved in delimiting memes as discrete units. She notes that while the first four notes of Beethoven's Fifth Symphony ( listen) form a meme widely replicated as an independent unit, one can regard the entire symphony as a single meme as well.
The inability to pin an idea or cultural feature to quantifiable key units is widely acknowledged as a problem for memetics. It has been argued however that the traces of memetic processing can be quantified utilizing neuroimaging techniques which measure changes in the connectivity profiles between brain regions." Blackmore meets such criticism by stating that memes compare with genes in this respect: that while a gene has no particular size, nor can we ascribe every phenotypic feature directly to a particular gene, it has value because it encapsulates that key unit of inherited expression subject to evolutionary pressures. To illustrate, she notes evolution selects for the gene for features such as eye color; it does not select for the individual nucleotide in a strand of DNA. Memes play a comparable role in understanding the evolution of imitated behaviors.
The 1981 book Genes, Mind, and Culture: The Coevolutionary Process by Charles J. Lumsden and E. O. Wilson proposed the theory that genes and culture co-evolve, and that the fundamental biological units of culture must correspond to neuronal networks that function as nodes of semantic memory. They coined their own term, "culturgen", which did not catch on. Coauthor Wilson later acknowledged the term meme as the best label for the fundamental unit of cultural inheritance in his 1998 book Consilience: The Unity of Knowledge, which elaborates upon the fundamental role of memes in unifying the natural and social sciences.
Read more about this topic: Meme
Famous quotes containing the words discrete units, units and/or discrete:
“One can describe a landscape in many different words and sentences, but one would not normally cut up a picture of a landscape and rearrange it in different patterns in order to describe it in different ways. Because a photograph is not composed of discrete units strung out in a linear row of meaningful pieces, we do not understand it by looking at one element after another in a set sequence. The photograph is understood in one act of seeing; it is perceived in a gestalt.”
—Joshua Meyrowitz, U.S. educator, media critic. The Blurring of Public and Private Behaviors, No Sense of Place: The Impact of Electronic Media on Social Behavior, Oxford University Press (1985)
“Even in harmonious families there is this double life: the group life, which is the one we can observe in our neighbours household, and, underneath, anothersecret and passionate and intensewhich is the real life that stamps the faces and gives character to the voices of our friends. Always in his mind each member of these social units is escaping, running away, trying to break the net which circumstances and his own affections have woven about him.”
—Willa Cather (18731947)
“The mastery of ones phonemes may be compared to the violinists mastery of fingering. The violin string lends itself to a continuous gradation of tones, but the musician learns the discrete intervals at which to stop the string in order to play the conventional notes. We sound our phonemes like poor violinists, approximating each time to a fancied norm, and we receive our neighbors renderings indulgently, mentally rectifying the more glaring inaccuracies.”
—W.V. Quine (b. 1908)