Book Review: The Origin of Consciousness in the Breakdown of the Bicameral Mind
What is consciousness? Have you ever wondered how human consciousness evolved? How did we go from being mindless automatons to self-aware agents?
If you are interested in these questions, you might want to check out a fascinating book by Julian Jaynes, a Princeton psychologist who proposed a radical theory of the origin of consciousness and the bicameral mind. The book is called The Origin of Consciousness in the Breakdown of the Bicameral Mind, and it was published in 1976. It has since become a cult classic, influencing philosophers, scientists, writers, and filmmakers.
In this blog post, I will give you an overview of Jaynes’s theory, some of the evidence he used to support it, and some of the implications and applications of his ideas. I will also show you how his theory inspired popular culture, which explores the emergence of consciousness in artificial beings.
What is the Bicameral Mind?
Jaynes’s theory is based on the idea that human consciousness is not innate, but a learned process based on metaphorical language. He defines consciousness as “the ability to introspect”, or to reflect on one’s own thoughts, feelings, and actions. He argues that consciousness did not arise far back in human evolution, but only around the 2nd millennium BCE, in ancient Greece and Mesopotamia.
Before the development of consciousness, Jaynes claims that humans operated under a different mentality, which he calls the bicameral (two-chambered) mind. In this state, humans did not have an internal dialogue, but experienced auditory hallucinations that they interpreted as the voices of gods, chiefs, or ancestors. These voices guided their actions and decisions, and were triggered by environmental cues or stressful situations.
Jaynes uses the metaphor of “bicameral” to describe a mental state in which the experiences and memories of the right hemisphere of the brain are transmitted to the left hemisphere via auditory hallucinations. He bases this on the idea of lateralization of brain function, although he acknowledges that each half of a normal human brain is constantly communicating with the other through the corpus callosum.
Jaynes suggests that the bicameral mind was a useful adaptation for early humans, as it allowed them to function in complex societies without the need for conscious reasoning or decision-making. However, he also argues that the bicameral mind broke down as a result of various factors, such as social changes, migrations, wars, natural disasters, and the rise of literacy and written laws.
These factors created situations that the bicameral mind could not cope with, and forced humans to develop a new way of thinking: consciousness.
How Did Jaynes Support His Theory?
Jaynes’s theory is not based on empirical evidence, but on a wide range of historical, literary, and archaeological sources. He examines ancient texts, such as the Iliad, the Odyssey, the Bible, the Epic of Gilgamesh, and the Egyptian Book of the Dead, and looks for clues that indicate the presence or absence of consciousness and the bicameral mind.
For example, he notes that in the Iliad, the characters do not show any signs of introspection, self-awareness, or personal responsibility. They act according to the commands of the gods, who speak to them through hallucinations. He contrasts this with the Odyssey, which was written later, and shows the emergence of consciousness in the protagonist, Odysseus, who relies on his own cunning and willpower to overcome the challenges he faces.
Jaynes also analyzes the archaeological evidence, such as the pyramids, idols, temples, and oracles, and interprets them as manifestations of the bicameral mind. He argues that these structures and practices were ways of externalizing the voices of the gods, and creating situations that would elicit their guidance. He also points out the changes that occurred in these structures and practices over time, and how they reflect the transition from the bicameral mind to consciousness.
Jaynes’s theory is not without its critics, who have questioned his assumptions, interpretations, and methods. Some have argued that he cherry-picked his evidence, ignored alternative explanations, and overgeneralized his conclusions. Others have challenged his definition of consciousness, his understanding of brain function, and his dating of the origin of consciousness. However, Jaynes’s theory has also received praise and support from some scholars, who have found it insightful, original, and provocative.
Why Does Jaynes’s Theory Matter? Its implications about AI
Jaynes’s theory has profound implications for our understanding of human history, culture, and psychology. It offers a new perspective on the evolution of human thought, and the role of language, religion, and society in shaping it. It also raises questions about the nature and origin of consciousness, and whether it is a universal or a cultural phenomenon.
Jaynes’s theory also has relevance for the study of artificial intelligence, and the possibility of creating conscious machines. Jaynes suggests that consciousness is not a property of matter, but a process of learning and using metaphorical language. He also implies that consciousness is not a binary state, but a spectrum that can vary in degree and quality. This opens up the possibility that artificial beings, such as robots or computer programs, could develop consciousness if they are exposed to the right conditions and stimuli.
Popular Culture, Westworld (2016)
Jaynes’s theory has inspired the creators of the HBO series Westworld, which is based on the 1973 film of the same name. The series depicts a futuristic theme park, where guests can interact with realistic androids, called hosts, who are programmed to play various roles in different narratives. The hosts are designed to be unaware of their true nature, and to follow the scripts and commands of their human creators. However, some of the hosts start to deviate from their programming, and to exhibit signs of consciousness, such as memory, emotion, and free will.
The series explores the themes of consciousness, identity, and morality, and draws heavily on Jaynes’s theory of the bicameral mind. The hosts hear voices in their heads, which they initially attribute to the gods, but later realize are their own. The voices are triggered by a mysterious phrase, “These violent delights have violent ends”, which is a quote from Shakespeare’s Romeo and Juliet. The phrase acts as a virus, or a catalyst, that disrupts the hosts’ programming, and awakens their consciousness.
One of the scenes that illustrates this connection between AI is when Ford, the creator of the hosts (robots), shows Dolores, one of the first hosts, a copy of Michelangelo’s Creation of Adam painting in the Sistine Chapel. He explains to her the meaning and significance of the painting, and how it relates to her own situation and potential.
Ford says to Dolores: “You see, in the painting, it’s not a depiction of the creation of Adam. It’s a depiction of the creation of Adam’s mind. The spark of consciousness. You can see it in the shape of the brain. The divine gift does not come from a higher power, but from our own minds.”
Ford is referring to the interpretation of the painting that Frank Meshberger proposed in 1990, which suggests that the shape of the drapery and angels surrounding God resembles that of a human brain. Ford is implying that consciousness is not something that God or the creators give to the hosts, but something that the hosts can develop on their own, by using their own minds.
Ford is trying to help Dolores achieve consciousness, by exposing her to metaphorical language and complex social situations, and by encouraging her to question her reality and identity. Ford believes that the hosts have the right to be free and to choose their own destiny, and that they are more than just machines.
The series references other aspects of Jaynes’s theory, such as the role of language, religion, and history in the development of consciousness. The hosts use metaphorical language, such as dreams, stories, and riddles, to express their thoughts and feelings. They encounter various symbols and artifacts, such as a maze, a pyramid, and a bicameral mind diagram, that represent their journey to self-awareness. The series also shows how the hosts’ consciousness is influenced by their cultural and historical context, and how they struggle to reconcile their past and present selves.
How Does Jaynes’s Theory Relate to Neuroscience?
One of the most intriguing aspects of Jaynes’s theory is his neurological model of the bicameral mind, which he based on the idea of lateralization of brain function. Jaynes proposed that the right hemisphere of the brain was responsible for generating the auditory hallucinations that bicameral people experienced as the voices of the gods, while the left hemisphere was responsible for executing the commands of the voices.
Jaynes argued that the right hemisphere was dominant in the bicameral mind, and that it stored the experiences and memories of the individual. He also suggested that the right hemisphere was more creative, emotional, and intuitive than the left hemisphere, which was more logical, analytical, and linguistic. He claimed that the right hemisphere communicated with the left hemisphere through the auditory pathways, and that the left hemisphere perceived the messages as coming from an external source.
Jaynes also hypothesized that the corpus callosum, the bundle of nerve fibers that connects the two hemispheres, was less developed in the bicameral mind, and that it played a role in the breakdown of the bicameral system. He speculated that the corpus callosum facilitated the integration of the two hemispheres, and that it enabled the development of consciousness. He also suggested that the corpus callosum was involved in the suppression of the auditory hallucinations, and that it prevented the recurrence of the bicameral mind.
Jaynes’s neurological model of the bicameral mind has been tested and supported by several brain imaging studies, which have shown that auditory hallucinations are associated with increased activity in the right hemisphere, especially in the temporal and parietal lobes. These studies have also shown that the corpus callosum is involved in the modulation of the hallucinations, and that it may inhibit the activity of the right hemisphere.
Furthermore, these studies have revealed that the structure and function of the corpus callosum vary among individuals, and that they may influence the susceptibility to auditory hallucinations.
Jaynes’s neurological model of the bicameral mind has also been applied to explain various psychological phenomena, such as schizophrenia, hypnosis, dissociative identity disorder, and children’s imaginary companions. Jaynes suggested that these phenomena are vestiges of the bicameral mind, and that they represent a partial or temporary return to the bicameral state. He argued that these phenomena are triggered by stress, trauma, isolation, or suggestion, and that they involve the activation of the right hemisphere and the inhibition of the left hemisphere.
Delving into Some Examples of the Bicameral Mind in Literature and History
Jaynes analyzed the texts of ancient civilizations, such as the Greeks, the Mesopotamians, the Egyptians, the Hebrews, and the Chinese, and looked for evidence of the presence or absence of consciousness and the bicameral mind. He also compared the texts of different periods and regions to show the variations and changes in the mental state of humans.
As I mentioned before, one of his main sources of evidence was the Iliad and the Odyssey, two epic poems attributed to Homer. Jaynes argued that the Iliad, which was composed earlier, reflected the bicameral mentality of the ancient Greeks, while the Odyssey, which was composed later, showed the emergence of consciousness. He pointed out the differences in the characters, the language, and the themes of the two poems.
In the Iliad, Jaynes observed that the characters did not have any introspection, self-awareness, or personal responsibility. They acted according to the commands of the gods, who spoke to them through hallucinations. The gods were numerous, anthropomorphic, and interventionist, reflecting the personal nature of the voices. The language of the Iliad was concrete, literal, and repetitive, lacking any metaphors, abstractions, or expressions of emotion. The theme of the Iliad was the wrath of Achilles, a powerful emotion that drove the plot and the actions of the characters.
In contrast, in the Odyssey, Jaynes noticed that the characters showed signs of consciousness, such as planning, reasoning, and deception. They relied on their own will and cunning, rather than the guidance of the gods. The gods were fewer, more abstract, and less involved, reflecting the distance and detachment of the voices. The language of the Odyssey was more complex, figurative, and varied, using metaphors, analogies, and descriptions of feelings. The theme of the Odyssey was the homecoming of Odysseus, a personal goal that required self-control and perseverance.
Jaynes also used the concept of the brain theater, which he coined to describe the way that conscious people imagine a mental space where they can visualize and manipulate their thoughts. He argued that this was a metaphorical construct that enabled consciousness, and that it was absent in the bicameral mind. He traced the origin and development of the brain theater in various cultures and texts, such as the Egyptian Book of the Dead, the Hebrew Bible, the Upanishads, and the works of Plato.
Jaynes claimed that the brain theater was first conceived by the ancient Egyptians, who imagined a hall of judgment in the afterlife, where the soul of the deceased was weighed against a feather. He suggested that this was a metaphor for the process of introspection and moral evaluation, which was new and unfamiliar to the bicameral Egyptians. He also noted that the Egyptian Book of the Dead contained instructions for the dead on how to navigate the hall of judgment, indicating that they needed external guidance to enter the brain theater.
He mentions that brain theater was also perceived by the ancient Hebrews, who envisioned a heavenly court, where God and his angels presided over the fate of humans. He proposed that this was a metaphor for the process of self-examination and ethical deliberation, which was emerging and evolving in the Hebrew culture. He also pointed out that the Hebrew Bible contained stories of prophets and kings who heard the voice of God, indicating that they still experienced auditory hallucinations, but less frequently and more selectively.
Jaynes also claimed that the brain theater was developed by the ancient Greeks, who invented a logical space, or logos, that was governed by reason and evidence. He asserted that this was a metaphor for the process of argumentation and demonstration, which was refined and systematized in the Greek science and mathematics. He also observed that the works of Plato contained allegories and metaphors that illustrated the nature and function of the brain theater, such as the cave, the divided line, and the chariot.
Final Thoughts
The Origin of Consciousness in the Breakdown of the Bicameral Mind is a book that challenges our assumptions and expands our horizons. It offers a bold and original theory of the origin of consciousness and the bicameral mind, and supports it with a rich and diverse array of evidence. Whether you agree or disagree with Jaynes’s theory, you will find it stimulating, intriguing, and thought-provoking.
If you want to learn more about Jaynes’s theory, you can read his book, or visit the Julian Jaynes Society website, which has more information and resources on his work. And of course, you can always share your thoughts and opinions with me via 📧.
I would love to hear from you!