Chance and Necessity

If you free-associate the word “chance,” you may arrive at “I’ll take my chances” before potentially arriving at Thomas Bayes’ “Doctrine of Chances”. Jacques Monod was an early explorer of the collision of probability and chance in biology.

THE PRINCE OF CHANCE

Jacques Monod grew up just down the coast from Monte Carlo in Cannes, France, another town famous for its casinos and, later, its film festival. Graced with movie star looks—one prominent French journalist described him as a “prince” who resembled Hollywood icon Henry Fonda, as well as considerable musical talent, and an exceptional intellect, Monod struggled to decide on a career path through his twenties. After distinguishing himself in the French Resistance, Monod rose to fame not as an actor or musician, but as a brilliant biologist. He shared the 1965 Nobel Prize in Physiology or Medicine for seminal discoveries about how genes work.

A pioneer in the field of molecular biology, Monod was privy to the blizzard of discoveries in the 1950s and early 1960s about the molecules that determined the characteristics of living things—what Monod and others dubbed “the secrets of life.” He kept close company with a relatively small international community of leading researchers. For example, when James Watson and Francis Crick cracked the structure of DNA (deoxyribonucleic acid) in 1953, Monod was one of the first with whom Watson shared the breakthrough.

But as a Frenchman steeped in his culture’s deep philosophical traditions, Monod was interested in science for more than just science’s sake. After the war, Monod befriended France’s leading philosopher-writer Albert Camus, and the two men pondered questions of human existence in Left Bank cafés. Monod felt that the public misunderstood the principal purpose of science as being the creation of technology. Rather, Monod believed technology was merely a by-product. He said, “the most important results of science have been to change the relationship of man to the universe, or the way he sees himself in the universe”—a relationship of equally intense interest to his friend Camus.

Monod thought that there were profound philosophical implications of the new molecular biology, particularly in the realm of heredity, which had gone largely unnoted in the broader culture. Several years after his Nobel Prize and Camus’ untimely death, he decided to write a book to try to bring the meaning of modern biology to laypersons.

“[T]he ‘secret of life’…has been laid bare,” he wrote.

“This, a considerable event, ought certainly to make itself strongly felt in contemporary thinking.”

Monod used several chapters to describe the insights that had very recently emerged from the study of DNA and the deciphering of the genetic code. He understood this knowledge would be unfamiliar to most readers, so he included an appendix with chemical structures of proteins and nucleic acids, and a primer on how the genetic code worked.

In a matter-of-fact style, he explained genetic mutations as accidental alterations—substitutions, additions, deletions, or rearrangements—in the text of DNA, in the sequence of the long strings of chemical bases (ACTTGATAA, etc.) that make up genes.

Then, almost without warning, he turned to the broader implications of how mutations arise in DNA. It is worth quoting him at length for after 111 pages of background, he delivered one of the most powerful ideas in five centuries of science (all italics are original):

“We call these events accidental; we say they are random occurrences. And since they constitute the only possible source of modifications in the genetic text, itself the sole repository of the organism’s hereditary structure, it necessarily follows that chance alone is at the source of every innovation, of all creation in the biosphere.

“Pure chance, absolutely free but blind, at the very root of the stupendous edifice of evolution: this central concept of modern biology is no longer one among other possible or even conceivable hypotheses. It is today the sole conceivable hypothesis, the only one that squares with observed and tested fact. And nothing warrants the supposition—or the hope—that on this score our position is likely ever to be revised.

“There is no scientific concept, in any of the sciences, more destructive of anthropocentrism than this one.”

In essence, heretofore obscure discoveries in biochemistry and genetics (largely studied at that time in simple bacteria) had upended two millennia of philosophy and religion that put humans at the center or apex of creation. “Man was the product of an incalculable number of fortuitous events,” Monod wrote. “The result of a huge Monte Carlo game, where our number eventually did come out, when it might not well have appeared.”

Le Hasard et la nécessité (Chance and Necessity) appeared in France in October 1970. It was a fairly technical book with several chapters on philosophy and genetics, and those appendices full of chemical diagrams. A first-time author, Monod did not know what reactions to expect.

The merde hit the fan.

The book received dozens of reviews across France and quickly became a bestseller—second only to the French translation of Erich Segal’s Love Story (this was France after all. After it was translated into English, reviews and interviews with Monod were featured in several of the most prominent British and American newspapers and magazines.

Many commentators immediately recognized the threat chance posed to traditional ideas of humanity’s origins and purpose. To Arthur Peacocke, a British biochemist turned prominent theologian, Monod had put forth “one of the strongest and most influential attacks of the century on theism.” A flurry of articles and books appeared with titles such as Anti-Chance: A Reply to Monod’s Chance and Necessity, Beyond Chance and Necessity, and God, Chance, and Necessity. Monod was invited to debate philosophers and theologians both in France and abroad, on television, radio, and in print.

American Calvinist theologian and pastor R.C. Sproul summed up the high stakes posed by chance in the first page of his book Not A Chance:

“It is not necessary for chance to rule in order to supplant God. Indeed, chance requires little authority at all if it is to depose God; all it needs to do the job is to exist. The mere existence of chance is enough to rip God from his cosmic throne. Chance does not need to rule; it does not need to be sovereign. If it exists as a mere impotent, humble servant, it leaves God not only out of date, but out of a job.” More than two hundred pages later, Sproul concluded:

“Chance as a real force is a myth. It has no basis in reality and no place in scientific inquiry. For science and philosophy to continue to advance in knowledge, chance must be demythologized once and for all.”

Sproul and other critics argued that what scientists perceived as chance merely reflected a lack of knowledge of true causes. Perhaps that was the expression of hope to which Monod alluded—the hope that as scientists learned more, our position on the role of chance would somehow be revised.

A SECOND CHANCE

The ensuing fifty years have not played out as either Monod or his detractors hoped. The Frenchman thought that the new insights from molecular biology should be a turning point for modern society-away from traditional beliefs about causes in the natural world toward one that embraced randomness and our chance existence.

Ha! Fat chance. The excitement and fuss stirred by Chance and Necessity simmered down, and Monod passed away a few years later. Surveys reveal that the majority of Americans, for example, continue to believe that everything on earth happens for His reasons.

But Monod’s critics should take no comfort. The province of chance in the biosphere and human life has been revised, although not at all in the scope or direction that they hoped.

The domain of chance has expanded into realms neither Monod nor anyone else imagined.

As we have learned much more about the history and workings of the planet, we have been startled to discover how the course of life has been buffeted by a variety of cosmological and geological accidents—without which we would not be here. As we have explored human history, we have seen how pandemics, droughts, and other civilization-changing episodes have been triggered by random, singular events in nature that easily might not have happened. And as we have probed human biology and the factors that impact our individual lives, we have caught chance red-handed, reigning over the often-thin line between life and death.

This book tells the stories that Monod could not—of astonishing discoveries from the planetary to the molecular scale, from great upheavals across the globe to the machinery of chance that operates within every cell of every creature, including ourselves. And while these discoveries vaporize the comforts of anthropocentrism, the story of chance, I hope you will come to agree, is much more than highfalutin philosophy or the refutation of theologians’ wishful thinking.

I hope that you are awed—awed by the power and the drama of asteroids slamming into the planet, of continents colliding, and of the rapid rising and falling of ice and oceans; awed by the realization that we live on (and are at the mercy of a planet that is far more unstable than our short lives perceive; awed by the knowledge of how random chance is at the source of all of the beautiful and wondrous creatures with whom we share the planet; awed by the unique invisible accidents that made each one of us; and awed by the fact that we humans, recent descendants of bands of hunter-gatherers who persevered through a period of exceptional chaos, have in just the last fifty years or so, figured all of this out!

My goal here is to be comprehensible without being comprehensive. It is almost trivial to claim that the world is the way it is or that we are here because of a long chain of chance, albeit fortunate, events. The explanatory power I seek comes from specificity. It is essential to unpack some of those events to appreciate how they shape the direction of life. The layout of the book follows a simple three-part logic. I’ll begin with inanimate, external chance events that have shaped the conditions for life (Part One, “Stuff Happens”), and then turn to the internal random mechanism within every creature that generates the adaptations to those conditions (Part Two, “A World of Mistakes”). Then, I bring the story to the personal level (Part Three, “23 and You”) and how chance impacts our natural lives, as well as our deaths. Our chance-driven existence shatters long-held beliefs about humanity’s place and raises challenging questions about the meaning and purpose of our lives. In the Afterword, I’ll offer some possible replies with the help of some special guests.

This is a relatively small book for a really big idea. Science has given us a handful of really big ideas over the centuries, but they have been received in funny ways. Darwin had a huge idea that was very simple to understand, and even though the evidence is massive and everywhere, many refuse to believe it. Einstein had a brand new idea, and even though few understand it or the evidence for it, most everyone seems to believe it. Monod had a great idea, but these days most people (other than scholars) have not heard of it, or of him.

My greatest hope, then, is that this short book might be chance’s second chance.

Sean B. Carroll, A Series of Fortunate Events: Chance and the Making of the Planet, Life, and You, Princeton University Press, 2020, pp. 6-12.

Modern biology as described by Monod pushes the linkage of probability, randomness and chance to the center. At the time, this was a very radical and profound way of looking at biology. If we combine Monod’s biology with theoretical physics like Lawrence KraussA Universe from Nothing: Why There Is Something Rather than Nothing, we realize that accidentality is the bedrock on which our knowledge of the universe is built.

What Do We Mean by “Spheres of Existence”?

The classic Hollywood film, How Green Was My Valley, is set in a Welsh coal-mining community over a hundred years ago. The spiritual head of the community, played by Walter Pidgeon, is walking along a hillside with a young boy who was traumatized after being injured in an accident. After some small talk, Pidgeon’s character tells the boy that prayer will help him heal. He explains that this isn’t mumbling in a church; what he means by prayer is the deepest possible communication with oneself, thus existentializing it.

This whole dimension derives from the existence-watchers Pascal and Kierkegaard. For example, Kierkegaard writes, “My principal thought was that in our age, because of the great increase of knowledge, we had forgotten what it means to exist, and what inwardness signifies.” (Quoted from “Truth Is Subjectivity”, a section in Concluding Unscientific Postscript to Philosophical Fragments.) Note that when you watch a very gifted scientific analyst, like Robert Lawrence Kuhn, whose PBS series Closer to Truth, represents the opposite of Kierkegaard’s inwardness.

In “Realms and Domains: Levels and Confusion”, we presented realms and domains as ways of shaping knowledge. Kierkegaard utilizes the word “sphere” to communicate a similar concept. Think of the term in geometry or as a “sphere of influence” in geopolitics.

Kierkegaard tells us, “There are thus three spheres of existence: the aesthetic, the ethical, the religious.” Let’s explain these three spheres. By “aesthetic,” he means the pursuit of wine, women and song as a life. The European academic song, “Gaudeamus igitur” embodies this philosophy. In the Eugene O’Neill play, Long Day’s Journey into Night, one of the characters exclaims, “In vino veritas!” (Latin: in wine, there is truth.)

By ethical, Kierkegaard is not describing a great concern for morality. He means, rather, the sense of camaraderie felt by someone for their fellows. A strong example of this occurs in the film, The Third Man. Trevor Howard plays a conscientious Royal Military Police officer, whose mission is to catch the elusive criminal played by Orson Welles. Howard’s officer’s entire existence is characterized by his desire to protect the public and his men. One could says this protectiveness is his bottom line.

To understand what Kierkegaard means by the religious, we quote, “Existence constitutes the highest interest of the existing individual, and his interest in his existence constitutes his reality. What reality is, cannot be expressed in the language of abstraction.” In The Third Man, the criminal’s girlfriend embodies the religious sphere. Her every task in daily life can be described by the previous quote.

Kierkegaard also has a very penetrating analysis of humor and irony, given his spheres of existence. Think of a comedian like Woody Allen, who has the intelligence to glimpse the profundity of existence but this wavelength makes him intensely anxious, provoking humor. These jokes are escapist, attempting to flee the tension of existence.

Finally, there are existence-watchers like the great American author Walker Percy. In his masterpiece, The Moviegoer, he depicts a current world so fragmented, adrift and soul-crushing that the protagonist tries to find his salvation in going to movies. He sees the experience of viewing the movie as being part of a congregation. Kierkegaard writes, “In our age it is believed that knowledge settles everything, and that if a man only acquires a knowledge of the truth, the more briefly and the more quickly the better, he is helped. But to exist and to know are two very different things.”

Movies as a Part of Remedial Education

It’s almost “un-American” to be honest about the nightmare side of life when you cannot “walk on the sunny side of the street” and operate under all those facile Americanisms about “I’ve got the world on a string…” in all the songs and movie lines.

Film noir is supposed to be an antidote to this “false sunniness” and there’s one classic example that exemplifies this undiscussable nightmare side of life, namely, Detour (1945), directed by Edgar Ulmer.

Edgar Georg Ulmer was a JewishMoravian, AustrianAmerican film director who mainly worked on Hollywood B movies and other low-budget productions, eventually earning the epithet “The King of PRC,” due to his extremely prolific output on the said Poverty Row studio.

Wikipedia

As a refugee/expat, he understood that life isn’t always “a bowl of cherries” and set out to show this in his films.

In this underrated Ulmer masterpiece, Tom Neal plays a musician, Al Roberts, who gets into a labyrinthian mess via bad luck and some mindless impulsiveness combined. Detour is a kind of “road movie” in hell. With life and the world a kind of hellish school, the protagonist Al Roberts captures the enforced money-madness in everything:

Money. You know what that is, the stuff you never have enough of. Little green things with George Washington’s picture that men slave for, commit crimes for, die for. It’s the stuff that has caused more trouble in the world than anything else we ever invented, simply because there’s too little of it.”

To this nightmarishness, there’s to be added the irrationality of fate or destiny or karma or luck:

“That’s life. Whichever way you turn, Fate sticks out a foot to trip you.”

— Al Roberts, Detour

He adds:

“But one thing I don’t have to wonder about, I know. Someday a car will stop to pick me up that I never thumbed. Yes. Fate, or some mysterious force, can put the finger on you or me for no good reason at all.”

[as narrator] “Until then I had done things my way, but from then on something stepped in and shunted me off to a different destination than the one I’d picked for myself.”

Vera comments:

“Life’s like a ball game. You gotta take a swing at whatever comes along before you find it’s the ninth inning.”

Hitchhiking, say, is often hellish and not romantic and usually not a Jack Kerouac On the Road poetic or rhapsodic adventure at all, as Al Roberts explains:

“Ever done any hitchhiking? It’s not much fun, believe me. Oh yeah, I know all about how it’s an education, and how you get to meet a lot of people, and all that. But me, from now on I’ll take my education in college, or in PS-62, or I’ll send $1.98 in stamps for ten easy lessons.”

Nightclubs too are not always heavenly escapes:

[voiceover] “It wasn’t much of a club, really. You know the kind. A joint where you could have a sandwich and a few drinks and run interference for your girl on the dance floor.”

— Al Roberts, Detour

Women might not be the salvation you were told to expect in songs like “Some Enchanted Evening” from South Pacific.

“Vera was just as rotten in the morning as she’d been the night before.”

— Al Roberts, Detour

There’s a genre of American films called “lowlife stories” such as The Hustler with Paul Newman.

Ulmer’s Detour is not exactly a “lowlife movie” but rather an undiscussed dark side to life movie, nor is it “stylishly pessimistic” (like the French “poetical pessimism” movies) but rather a truth-telling exercise that shows stability and permanence and happiness as “living” on thin ice. American “cock-eyed optimism” isn’t always appropriate.

In that sense, Detour is a part of remedial education.

Movies as an Education in Global Looting: The Sea Hawk (1940)

Movies and the World as an Arena of Violent Domination and Global Looting

The classic Warner Brothers swashbuckler, The Sea Hawk, from 1940, within its romantic adventures and intricate swordfights (perhaps comparable to the car chases of later movies) is a partly historical, partly fictional version of a world built on imperial struggles and ransacking and despoiling. The hegemonic power in the West (and perhaps worldwide) is Spain. Phillip II the king-emperor wants to own and dominate and rule the whole world. In 1588, his Spanish Armada loses to England. (The British of course want to compare this to the Battle of Britain against the German Luftwaffe.)

Set in 1585, The Sea Hawk opens with King Philip II of Spain plotting world domination, laughing that all world maps will soon read simply “Spain” — once England is out of the way, of course.

The Spanish ambassador departs for England to escort his niece to Queen Elizabeth’s court, but in a spectacular sea battle, the Spanish galley is soundly damaged, boarded, raided and sunk by a group of pirates led by Captain Geoffrey Thorpe, a Sir Walter Raleigh stand-in played by Erroll Flynn. Thorpe rescues the galley slaves — they row the boat — and spares the crew, taking them aboard and delivering them to England. The jewels and other bounty (or a portion thereof) are a gift to the Queen.

His crew is part of a noble privateer coalition — the Sea Hawks — who justify their piracy as reclamation of English goods (and enslaved sailors) from the Spanish behemoth. The political fallout from Thorpe’s abduction of the ambassador forces Elizabeth to outlaw the Sea Hawks, including an official denial (and private approval) of his mission to Panama to steal a shipment of Aztec gold.

Inca gold is also mentioned in the movie as a target of robbing.

Sir John Hawkins (1532–1595), part of this group of global sailor-pirates and master-mariners, was one of the most notable sailors and naval commanders of the sixteenth century.

He is known for his pivotal role in the maritime history of England and the rise of the global slave trade.

John Hawkins, the son of a merchant, was born in Plymouth in 1532. He became a sea captain and in 1562 became the first Englishman to start capturing people in Sierra Leone and selling them as slaves to Spanish settlers in the Caribbean. (Notice that selling slaves does not discriminate against Spaniards even with Phillip II threatening England. Business is business.)

Stealing Aztec gold as part of colonial or imperial plundering and the slave trade were part of the dark side of history, something the standard history books “skate over” dishonestly.

A key scene between the Spanish aristocratic beauty and Captain Thorpe:

Doña María Álvarez de Córdoba: “I’m not in the habit of conversing with thieves. I thought I made that quite clear, Captain Thorpe.”

Captain Geoffrey Thorpe: “Why, yes, all except your definition. Tell me, is a thief an Englishman who steals?”

Doña María Álvarez de Córdoba: “It’s anybody who steals… whether it’s piracy or robbing women.”

Captain Geoffrey Thorpe: “Oh, I see. I’ve been admiring some of the jewels we found in your chest… particularly the wrought gold. It’s Aztec, isn’t it? I wonder just how those Indians were persuaded to part with it.”

The Sea Hawk (1940)

Donald Trump continues this tradition of looting when he says of Iraq’s oil:

“Think of it as our oil under their sand.”

Thus the whole world is an arena where the weak don’t have any property rights: not the oil or gold, not themselves (slavery) and not their country (colonialism).

This exploitative hierarchy and “world-system” is part of “the way of the world” and even a romantic adventure story like 1940’s The Sea Hawk gives you a Hollywoodized glimpse into its roots. Imperial struggles in the West spill over into colonization and ransacking and looting. History books one sees in high school are dishonest and in that sense uninformative or even disinformative.

The popular PBS travel series Rick Steves’ Europe unintentionally gives us a wonderful example of this notion of plunder and looting as a pillar of world history in the show on Venice. Rick Steves is talking about the various statues in Venice’s central St. Mark’s Square (Piazza San Marco), and comments “I’d call the style ‘Early Ransack.’”

This Rick Steves quip about ransacking and historical wealth-building is very informative.

Is Some Personal Experience More Understandable When Examined on a Larger Canvas?

We start with a personal experience and hope to illuminate it on a larger scale.

In 1965, one of us (RM) was in Munich Germany and reports this anecdote:

I decided one day for no reason to go to the beer hall called the Hofbräuhaus, Am Platzl 9, a Munich landmark and the place where Hitler read out the Nazi program of 25 points in February 1920. This beer hall was a major haunt or stomping ground of the Nazis. I sat quietly at a side table and nursed my Berliner Weisse beer.

An older man staggers past me, dressed in Bavarian lederhosen and for no reason sits across from me and starts making some small talk which I politely reply to. He asks me if I come from Berlin and to save time I say “sort of.”

Suddenly out of nowhere he says to me: “Let me tell you one thing. It all started in 1928.”

I ponder his words but have no idea what he’s getting at in his drunken maundering.

He then adds, “That’s when GM the American car company bought the German company Adam Opel.

He doesn’t explain what his family connection was to this merger and acquisition but one would have to guess someone in his family, himself or his father perhaps, got laid off.

(The preeminent business historian Alfred Chandler of Harvard Business School, who died in 2007, discusses this 1928 business merger in his books, but there’s no detailed description of secondary effects.)

The German uninvited interloper at my table begins to blame the merger on the Jews. I tell him that the car industry in America was itself very antisemitic with Henry Ford being the leader of this paranoia-based hatred. He answers cryptically, “you know what I mean.” His attitude is “don’t confuse me with facts.”

The German goes on and on with this Jew-bashing tirade and I finally get exasperated and say, “you mean people like me” do you?

He becomes whiter than a sheet and seems about to pass out. He gets out of his chair and stumbles and staggers out of the Hofbrauhaus.

I learnt from this experience that this man was probably not some evil madman but more likely “a little man” legitimately scared out of his wits by the global and local permanent instability in the economy at all levels and scales.

In fact, there’s a Hollywood movie, Little Man, What Now? based on the novel by the great German writer Hans Fallada, which depicts a young couple baffled and overwhelmed by the econo-gyrations of their moment in time.

Now we come to the perspectival question (i.e., the MetaIntelligence question): how to see this more clearly with some wider and deeper view?

We glimpse the deeper context in a book by the British historian David Thomson in his excellent England in the Nineteenth Century, 1815-1914, where he describes how industrialization, trade and global trends became entwined. This is for England, not Germany, but could serve as a rough template for all modernizing countries undergoing deep transformations and facing anxiety-stoking unknowns:

The Englishman was now nakedly at the mercy of vast economic changes beyond the control of his own government. he had the vote, and could at elections choose between alternative governments but if none of these governments could provide him with the sense of social and economic security he desired, what was the vote worth?

(David Thomson, England in the Nineteenth Century, 1815-1914, Penguin Books, 1978, page 190)

Think of the German at the Hofbräuhaus as bewildered (not unjustly) by the “little man, what now?” permanent insecurity problem of the modern industrial world.

It’s probably not instructive to think of him as an evil hater but rather as a person frightened out if his mind, for real reasons. He takes as his symbol for all this insecurity the 1928 Opel acquisition mentioned above. This is an example of going from one person’s (garbled) experience to a wider canvas.

To make this canvas deeper, add the anxiety about science expressed in our science anxiety/Sōseki essay previously.

One then gets an inkling of the modern sense of dread based on various nerve-wracking perceived threats which cannot be laughed off or dismissed.