Re-analysis of the data provided in the target article reveals a lack of evidence for a strong, universal relationship between parasite stress and the variables relating to sociality. Furthermore, even if associations between these variables do exist, the analyses presented here do not provide evidence for Fincher & Thornhill's (F&T's) proposed causal mechanism.

The evidence compiled in the target article demonstrates that the assumptions of cultural group selection theory are often met, and it is therefore a useful framework for generating plausible hypotheses. However, more can be said about how we can test the predictions of CGS hypotheses against competing explanations using historical, archaeological, and anthropological data.

In lieu of an abstract, here is a brief excerpt of the content:Gregory Currie TEXT WITHOUT CONTEXT: SOME ERRORS OF STANLEY FISH "Intuition told him that the vast ineptitude of the venture would serve as proof that no fraud was afoot." —Jorge Luis Borges, "Tom Castro, the Implausible Imposter," in A Universal History ofInfamy There are those of us who seek unity, universality, patterns of invariance in any diverse multitude of particulars. With the interpretation of texts, the diversity is (...) evident, the unity, universality and invariance less so. Still, we have the text itself, a sequence of determinately meaningful signs, independent of, and a constraint on, the activities of interpreters. We universalists might want more than that, but it's a start. It's a start some people are not prepared to give us. Stanley Fish is one of them. According to him we are looking for something which does not exist, and which we do not need. I shall argue that Fish is wrong on both counts. According to Stanley Fish, there are no constraints on interpretation that transcend particular, local interpretive communities. Indeed, there is no truth or validity that is community transcendent, no standard of lightness, proof or confirmation that has any warrant other than community approval. Intellectual ascendency is always ultimately a matter of rhetorical power, and the locus of power shifts as the norms of the community change. Yet we need not worry that this implies any dangerous kind ofrelativism or subjectivism. Each ofus is deeply immersed Philosophy and Literature, © 1991, 15: 212-228 Gregory Currie213 in his or her own community. Our thoughts, intentions, and actions gain their very identity from the structure of public, communitarian relations we enter into, and the community imposes on us a tight structure of norms and intellectual options that "situate" us (a favored word in the Fish vocabulary) in such a way that it is always clear what interpretive move is appropriate.1 Fish is no epistemological anarchist in the style of Feyerabend: it is not the case, for him, that "anything goes." There is always a clear distinction between what goes and what does not; it is just that the rules, the structure, the hierarchy of options are not invariant across time or communities.2 Now we do it like this, tomorrow we may do it like that; we do it this way, they do it that way. Wherever you are, the rules are always clear, but the rules depend on where you are. I shall call this thesis "internalism." It bears some resemblance to views of the later Wittgenstein, and rather closely parallels Thomas Kuhn's theory of scientific paradigms. It has a negative and a positive aspect. The negative aspect is that community-specific constraints on interpretation are all we have. The positive aspect is that they are all we need. Is internalism correct? I say it is not. I say that the positive claim is false, because internal constraints alone can never answer the relativist's challenge, when that challenge is properly understood; more about that in a moment. But this merely serves to highlight the importance of the negative thesis: if that is correct then relativism carries the day. So my primary concern here is with the negative thesis. Fish's main argument for the negative thesis is that what seems to most of us to be an obvious external constraint on interpretation—the literal meaning of the text in question—is no such thing. And he bases this claim on some arguments which purport to show that there L· no such thing as literal meaning. So my aim, it emerges at last, is to defend the idea of literal meaning. But first, I shall say something about the question of relativism. II Fish's answer to relativism, it will be remembered, is that interpretive communities constrain the interpretive choices of their members in such away that there can always be seen tobe nonarbitrary ways ofproceeding when it comes to formulating and choosing between interpretive hypotheses. This claim, the positive claim of Fish's internalism, raises two questions: Is Fish right, as a matter of fact, about the ways in which interpretive, and more generally intellectual communities constrain the 214Philosophy and Literature thoughts and actions... (shrink)

Jesus Christ may be regarded as the chief spirit of agitation and innovation. He himself declared, “I come not to bring peace, but a sword.” One cannot delve seriously into the centuries of activism and scholarship against racism, Jim Crowism, and the terrorism of lynching without encountering the legacies of Timothy Thomas Fortune and Ida B. Wells-Barnett. Black scholars from the 19th century to the present have been inspired by the sociological and economic works of Fortune and Wells. Scholars (...) of American philosophy, however, continue to ignore their writings, their theoretical contributions and their ethical aspirations, preferring instead the insipid declarations of white turn of the century.. (shrink)

Hans Maes has collected a number of conversations he has had with major figures in philosophical aesthetics over the last ten years in Conversations on Art and Aesthetics. These include, in order of appearance, Jerrold Levin-son, Arthur Danto, Cynthia Freeland, Carolyn Korsmeyer, Jenefer Robinson, Roger Scruton, Gregory Currie, Paul Guyer, Noël Carroll, and Kendall Walton. This book will be of interest to anyone who wishes to see some important living figures in this essential subdiscipline of philosophy in action. As (...) with all efforts of this sort, however, certain choices had to be made. The book is explicitly limited to philosophers in the Anglo-American tradition, largely American (including eight past... (shrink)

Early mathematical abilities matter for later formal arithmetical performances, school and professional success. Accordingly, it seems central to accurately assess numerical school readiness at school entrance. This is a prerequisite for identifying school-starters who are at risk to encounter difficulties in mathematics and stimulate their acquisition of mathematical fundamentals as soon as possible. In the present study, we present a new test which allows professionals working with children (e.g., teachers, school psychologists, speech therapists, school doctors) to assess children’s numerical school (...) readiness when they enter formal schooling in a simple, rapid and efficient manner. 346 children were assessed at the entrance of 1st grade (6-to-7-year-olds) with the novel numerical school readiness test (T1). In addition, children’s numerical skill levels were evaluated with classical arithmetical tests at T1 and a year later in 2nd grade (T2, 7-to-8-year-olds). Performance in these classical tests in 1st and 2nd grade systematically related to their early mathematical abilities assessed with the numerical school readiness test. By using the present test to evaluate numerical school readiness it is possible to identify pupils at risk for developing poor mathematical skills right from the start of formal schooling. Such a tool is needed, as a child’s scholastic level in mathematic at school entrance (or school readiness) is known to be critical for his or her future school and professional carrier (Currie & Thomas, 1999; Duncan et al., 2007; Pagani, Fitzpatrick, Archambault, & Janosz, 2010; Rivera-Batiz, 1992; Romano, Babchishin, Pagani, & Kohen, 2010). (shrink)

This volume opens a set of reviews written by Bueno published by the Institute of Philosophy "Luis Vives" of the CSIC. The first of these reviews also constitute the first texts of Bueno of which we have news and are part of their stage as a CSIC fellow in Madrid, a period in which he develops his doctoral thesis on the philosophy of religion. Formal and material foundation of the modern philosophy of religion, which is dated April 7, 1947. Despite (...) being short texts, small of them small philosophical notes that should not be overlooked: the role of Cartesianism in the History of modern philosophy, the relations between philosophy and literature, the scope of the theory of tomista knowledge, the problem of the logical foundation of mathematics, & c. In any case, the main value of these reviews is to offer a sample of the type of readings that its author made in those years. Therefore it is interesting to verify the use that makes Bueno in his youth works of some of the texts he had previously reviewed. Thus, for example, in the doctoral thesis it is cited, to illustrate some aspects of its "historical" part, Paul Hazard's work on European thought in the 18th century to which a year earlier (1946) dedicated the most extensive review and detailed how many wrote. However, it is in the unpublished book on the picnological processes, dated in 1953 and already written in Salamanca, where we will find the works of logic that Bueno had read and reviewed in the previous years. Here Manuel Granell's logic manual will be quoted, but Hönen's monograph on the Theorie du Jugement d'Arès St. Thomas d'Aquin and Beth's books, Becker and Curry will also be referenced in the numerous examples extracted of the logic that jalonan the work. From the book of Dockx, Vers UNE Synthèse Moderne du Savoir, it extracts good the formulation of one of its favorite examples of the picnological process: that of the polygon inscribed in a circumference with which it ends up identifying, by one step to the limit, after the indefinite multiplication of its sides. This group of writings can also be ascribed in some ways the most extensive work about "a new exhibition of the syllogistic", appeared in the aforementioned Philosophy magazine in 1951. (shrink)

This fifth volume of the Radical Philosophy Today series contains papers presented at the 7th Biennial Conference of the Radical Philosophy Association, 2006. Contributors include Karsten Struhl, Lisa Heldke, Amy Wendling, Tom Jeannot, John Exdell, C.W. Dawson, Tommy Curry, Dwayne Tunstall, Jason Mallory, Eduardo Mendieta, Brady Thomas Heiner, Mechthild Nagel, and Jeffrey Paris.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.2 (2000) 116-136 [Access article in PDF] Being, Time, and Definition: Toward a Semiotics of Figural Rhetoric Carol Poster For if History in the transferred sense of particular books called "histories," is rather apt to be false: nothing but History in the wider and higher sense will ever lead us to the truth. The Future is unknown and unknowable. The Present is turning to Past even (...) as we are trying to know it. Only the Past itself abides our knowledge. --George Saintsbury, A Letter BookDefining and classifying figures of speech and thought have been among the more important tasks of rhetoricians and grammarians for more than two millennia. The inventional focus, however, of much modern rhetorical theory has tended to relegate figuration either, on the one hand, to the domains of literary criticism or linguistics (the heirs of ancient grammar) or, on the other hand, to an ancillary position. The concomitant marginalization of the study of figures has had a significant effect upon contemporary scholarship in historical rhetoric. Many of the seminal scholarly works on the history of rhetoric have denigrated or minimized the importance of figural rhetoric. As Brian Vickers (1990, 294-95) has mentioned, George Kennedy and numerous other historians of rhetoric (e.g., Clarke 1996, 34) tend to condemn the teaching of figural rhetoric as dreary, tedious, and otiose. Often, the very periods themselves in which the study of the figures was pursued most vigorously and extensively are omitted from or condemned by modern scholarly discussion. As Marjorie Curry Woods has pointed out (1995, 73-78), biases against the medieval period, especially as found in Charles Sears Baldwin (1928) and Kennedy (1963, 1980) have in many ways defined the contours of our discipline, especially our attitudes toward the study of figures and tropes. Late antiquity and the Middle Ages, the periods of "decline" so deplored by Baldwin, Vickers, Kennedy, and others, were those in which figural rhetoric flourished, and both the sheer [End Page 116] volume of extant figural treatises and the continuity of figural rhetoric from the Hellenistic period through such contemporary semipopular books as Arthur Quinn's Figures of Speech: 60 Ways to Turn a Phrase (1982) and William Espy's The Garden of Eloquence: A Rhetorical Bestiary (1983) demand attention from the historical scholar. Along with the trivialization of figures in contemporary rhetoric has come a drastic oversimplification of the semiotics of figural terminology, which, in turn, contributes to the trivialization of many recent accounts of figures. To recover a more complex understanding of the semiotics of figural terms, we must start with a historical understanding of figuration, because rhetorical terms are encased in numerous historical strata that determine our understandings of them. 1 As Richard Rorty (1984, 49-75) argues concerning the historiography of philosophy, rational and historical reconstruction are mutually interdependent. A brief history of figural rhetoric From antiquity through the present, lists of figures have either occupied substantial sections of general treatises on rhetoric or grammar or have been the subject of specifically figural handbooks. Use of what we might term highly figured speech appears to predate the development of theoretical models for analysis of figures by many centuries. The Homeric epics, which were to provide the standard examples of rhetorical figures for many subsequent centuries, use patterns of speech later to be named and classified as rhetorical figures, but neither figural terminology nor self-conscious reflection upon figures qua figures appears in the epics. Similarly, although Gorgias was renowned for his use of the "Gorgianic" figures that later took his name, there is no evidence that he attempted systematic catologuing or development of specialized terminology for the figures. The testimonia describing his use of poetic words and figures (DK82a1, DK82a2, DK82a4, DK82a32--translated in Sprague 1972) do not attribute to him any invention of technical terminology.The question of invention of specific terminology for rhetorical figures is part of a more general historical question of the development of rhetoric as a self-conscious field. As Thomas Cole (1991) and Edward Schiappa (1991) have pointed out, the first... (shrink)

Recreative Minds develops a philosophical theory of imagination that draws upon the latest work in psychology. This theory illuminates the use of imagination in coming to terms with art, its role in enabling us to live as social beings, and the psychological consequences of disordered imagination. The authors offer a lucid exploration of a fascinating subject.

This important book provides a theory about the nature of fiction, and about the relation between the author, the reader and the fictional text. The approach is philosophical: that is to say, the author offers an account of key concepts such as fictional truth, fictional characters, and fiction itself. The book argues that the concept of fiction can be explained partly in terms of communicative intentions, partly in terms of a condition which excludes relations of counterfactual dependence between the world (...) and the text. This communicative model is then applied to the following problems: how can something be 'true in the story' without being explicitly stated in the text? In what ways does interpreting a fictional story depend upon grasping its author's intentions? Is there always a unique best interpretation of a fictional text? What is the correct semantics for fictional names? What is the nature of our emotional response to a fictional work? In answering these questions the author explores the complex interaction between author, reader, and text. This interaction requires the reader to construct a 'fictional author' - a character in the story whose personality, beliefs and emotional states must be interpreted if the reader is to grasp the meaning of the work. (shrink)

This text offers a reflection on the nature and significance of narrative in human communication.

This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A general theory of pictorial representation is (...) presented, which insists on the realism of pictures and the impossibility of assimilating them to language. It criticizes attempts to explain the psychology of film viewing in terms of the viewer's imaginary occupation of a position within the world of film. On the contrary, film viewing is nearly always impersonal. (shrink)

We argue that narratives are central to the success of historical reconstruction. Narrative explanation involves tracing causal trajectories across time. The construction of narrative, then, often involves postulating relatively speculative causal connections between comparatively well-established events. But speculation is not always idle or harmful: it also aids in overcoming local underdetermination by forming scaffolds from which new evidence becomes relevant. Moreover, as our understanding of the past’s causal milieus become richer, the constraints on narrative plausibility become increasingly strict: a narrative’s (...) admissibility does not turn on mere logical consistency with background data. Finally, narrative explanation and explanation generated by simple, formal models complement one another. Where models often achieve isolation and precision at the cost of simplification and abstraction, narratives can track complex changes in a trajectory over time at the cost of simplicity and precision. In combination both allow us to understand and explain highly complex historical sequences. (shrink)

What can we learn from fiction? I argue that we can learn about the consequences of a certain course of action by projecting ourselves, in imagination, into the situation of the fiction's characters.

Geologists, Paleontologists and other historical scientists are frequently concerned with narrative explanations targeting single cases. I show that two distinct explanatory strategies are employed in narratives, simple and complex. A simple narrative has minimal causal detail and is embedded in a regularity, whereas a complex narrative is more detailed and not embedded. The distinction is illustrated through two case studies: the ‘snowball earth’ explanation of Neoproterozoic glaciation and recent attempts to explain gigantism in Sauropods. This distinction is revelatory of historical (...) science. I argue that at least sometimes which strategy is appropriate is not a pragmatic issue, but turns on the nature of the target. Moreover, the distinction reveals a counterintuitive pattern of progress in some historical explanation: shifting from simple to complex. Sometimes, historical scientists rightly abandon simple, unified explanations in favour of disunified, complex narratives. Finally I compare narrative and mechanistic explanation, arguing that mechanistic approaches are inappropriate for complex narrative explanations. (shrink)

I develop an account of the relationship between aesthetics and knowledge, focusing on scientific practice. Cognitivists infer from ‘partial sensitivity’—aesthetic appreciation partly depends on doxastic states—to ‘factivity’, the idea that the truth or otherwise of those beliefs makes a difference to aesthetic appreciation. Rejecting factivity, I develop a notion of ‘epistemic engagement’: partaking genuinely in a knowledge-directed process of coming to epistemic judgements, and suggest that this better accommodates the relationship between the aesthetic and the epistemic. Scientific training (and other (...) knowledge-directed activities), I argue, involves ‘attunement’: the co-option of aesthetic judgements towards epistemic ends. Thus, the connection between aesthetic appreciation and knowledge is psychological and contingent. This view has consequences for the warrant of aesthetic judgement in science, namely, the locus of justification is those processes of attunement, not the aesthetic judgements themselves. (shrink)

Despite wide recognition that speculation is critical for successful science, philosophers have attended little to it. When they have, speculation has been characterized in narrowly epistemic terms: a hypothesis is speculative due to its (lack of) evidential support. These ‘evidence-first’ accounts provide little guidance for what makes speculation productive or egregious, nor how to foster the former while avoiding the latter. I examine how scientists discuss speculation and identify various functions speculations play. On this basis, I develop a ‘function-first’ account (...) of speculation. This analysis grounds a richer discussion of when speculation is egregious and when it is productive, based in both fine-grained analysis of the speculation’s purpose, and what I call the ‘epistemic situation’ scientists face. (shrink)

Simulation Theory says we need not rely exclusively on prepositional knowledge of other minds in order to explain the actions of others. Seeking to know what you will do, I imagine myself in your situation, and see what decision I come up with. I argue that this conception of simulation naturally generalizes: various bits of our mental machine can be run‘off‐line’, fulfilling functions other than those they were made for. In particular, I suggest that visual imagery results when the visual (...) system is run off‐line. I briefly review the empirical evidence and consider the philosophical implications, particularly concerning the mode of mental representation in imagery. (shrink)

Paleobiologists often provide simple narratives to explain complex, contingent episodes. These narratives are sometimes ‘one-shot hypotheses’ which are treated as being mutually exclusive with other possible explanations of the target episode, and are thus extended to accommodate as much about the episode as possible. I argue that a provisional preference for such hypotheses provides two kinds of productive scaffolding. First, they generate ‘hypothetical difference-makers’: one-shot hypotheses highlight and isolate empirically tractable dependencies between variables. Second, investigations of hypothetical difference-makers provision explanatory (...) resources, the ‘raw materials’ for constructing more complex—and likely more adequate—explanations. Provisional preferences for simple, one-shot hypotheses in historical science, then, is defeasibly justified on indirect—strategic—grounds. My argument is made in reference to recent developments regarding the K–Pg extinction. (shrink)

Many accounts of scientific modeling conceive of models as fictions: scientists interact with models in ways analogous to various aesthetic objects. Fictionalists follow most other accounts of modeling by taking them to be revelatory of the actual world in virtue of bearing some resemblance relation to a target system. While such fictionalist accounts capture crucial aspects of modelling practice, they are ill-suited to some design and engineering contexts. Here, models sometimes serve to underwrite design projects whereby real-world targets are constructed. (...) In such circumstances, it is unclear what the model is supposed to resemble. Further, while fictionalists often require that models qua models have their content in virtue of construal or interpretation, in some engineering and design contexts success-conditions do not require such content—all that is required is that the model generates the required outputs. I take these points to motivate a view which accommodates fictionalism, but is broader. I articulate and defend an account of models as tools: specifically, material objects which are put to particular uses in particular contexts. (shrink)

An argument for Trivialism, the view that natural languages are logically inconsistent, is provided that does not rely on contentious empirical assumptions about natural language terms such as “and” or “or.” Further, the view is defended against an important objection recently mounted against it by Thomas Hofweber.

. Philosophers and scientists often cite ontic factors when explaining the methods and success of scientific inquiry. That is, the adoption of a method or approach is explained in reference to the kind of system in which the scientist is interested: these are explanations of why scientists do what they do, that appeal to properties of their target systems. We present a framework for understanding such “Opticks to his Principia. Newton’s optical work is largely experiment-driven, while the Principia is primarily (...) mathematical, so usually, each work is taken to exemplify a different kind of science. However, Newton himself often presented them in terms of a largely consistent method. We use our framework to articulate an original and plausible position: that the differences between the Opticks and the Principia are due to the kinds of systems targeted. That is, we provide an ontic-driven explanation of methodological differences. We suspect that ontic factors should have a more prominent role in historical explanations of scientific method and development. (shrink)

Ethnographic analogy, the use of comparative data from anthropology to inform reconstructions of past human societies, has a troubled history. Archaeologists often express concern about, or outright reject, the practice—and sometimes do so in problematically general terms. This is odd, as the use of comparative data in archaeology is the same pattern of reasoning as the ‘comparative method’ in biology, which is a well-developed and robust set of inferences which play a central role in discovering the biological past. In pointing (...) out this continuity, I argue that there is no ‘special pleading’ on the part of archaeologists in this regard: biologists must overcome analogous epistemic difficulties in their use of comparative data. I then go on to emphasize the local, empirically tractable ways in which particular ethnographic analogies may be licensed. (shrink)

Motor imagery typically involves an experience as of moving a body part. Recent studies reveal close parallels between the constraints on motor imagery and those on actual motor performance. How are these parallels to be explained? We advance a simulative theory of motor imagery, modeled on the idea that we predict and explain the decisions of others by simulating their decision-making processes. By proposing that motor imagery is essentially off-line motor action, we explain the tendency of motor imagery to mimic (...) motor performance. We close by arguing that a simulative theory of motor imagery gives (modest) support to and illumination of the simulative theory of decision-prediction. (shrink)

Aims to improve an understanding of the theoretical issues in response to the influence of fiction. Four things in narrative unreliability; Relation between narration in literary fictions and film; Comprehension of narrative essentially a matter of intentional inference; Fictions misdescribed; Asymmetry between literature and film; Ambiguity and unreliability; Implied author and narrator.

The scientific investigation of music requires contributions from a diverse array of disciplines. Given the diverse methodologies, interests and research targets of the disciplines involved, we argue that there is a plurality of legitimate research questions about music, necessitating a focus on integration. In light of this we recommend a pluralistic conception of music—that there is no unitary definition divorced from some discipline, research question or context. This has important implications for how the scientific study of music ought to proceed: (...) we show that some definitions are complementary, that is, they reflect different research interests and ought to be retained and, where possible, integrated, while others are antagonistic, they represent real empirical disagreement about music’s nature and how to account for it. We illustrate this in discussion of two related issues: questions about the evolutionary function of music, and questions of the innateness of music. These debates have been, in light of pluralism, misconceived. We suggest that, in both cases, scientists ought to proceed by constructing integrated models which take into account the dynamic interaction between different aspects of music. (shrink)

We outline a theory of one puzzling aspect of human cognition: a tendency to exaggerate the degree to which agency is manifested in the world. We call this over‐coherent thinking. We use Pylyshyn's idea of cognitive penetrability to help characterize this notion. We argue that this kind of thinking is essentially narrative in form rather than theoretical. We develop a theory of the relation between the degree of narrativity in a representation and its aptness to represent, and to express, mind. (...) We review the prospects for several theories about how over‐coherent thinking gains a purchase on motivation. We argue that progress in this difficult area may require the abandonment of a categorical belief/imagination distinction in favour of vaguely specified clusterings in a many‐dimensional cognitive space. We conclude with the idea that an error‐prone system for the retention of ideas that are low in some of the characteristics generally thought desirable in belief might emerge as a result of an arms‐race between deceivers and deceiver‐detectors. (shrink)

Human aesthetic practices show a sensitivity to the ways that the appearance of an artefact manifests skills and other qualities of the maker. We investigate a possible origin for this kind of sensibility, locating it in the need for co-ordination of skill-transmission in the Acheulean stone tool culture. We argue that our narrative supports the idea that Acheulian agents were aesthetic agents. In line with this we offer what may seem an absurd comparison: between the Acheulian and the Quattrocento. In (...) making it we display some hidden richness in what counts as an aesthetic response to an artefact. We conclude with a brief review of rival explanations—biological and/or cultural—of how this skills-based sensibility became a regular feature of human aesthetic practices. (shrink)

Common philosophical accounts of creativity align creative products and processes with a particular kind of agency: namely, that deserving of praise or blame. Considering evolutionary examples, we explore two ways of denying that creativity requires forms of agency. First, we argue that decoupling creativity from praiseworthiness comes at little cost: accepting that evolutionary processes are non-agential, they nonetheless exhibit many of the same characteristics and value associated with creativity. Second, we develop a ‘product-first’ account of creativity by which a process (...) is creative just in case it gives rise to products deserving of certain forms of aesthetic engagement. (shrink)

What kinds of psychological states motivate us? Beliefs and desires are the obvious candidates. But some aspects of our behaviour suggest another idea. I have in mind the view that imagination can sometimes constitute motivation.

Here’s something I’m willing to claim we know: Homo sapiens, in particular the Polynesian settlers who first arrived in Aotearoa around the twelfth century, take the lion’s share of causal blame for the extinction of a lineage of enormous flightless birds: the moa. Stretching to three metres at their tallest, moa were a distinctive and remarkable feature of Aotearoa’s primeval forests, playing the main browser and grazer role in this unique bird-based ecosystem. Once humans turned up forests were burned, moa (...) were stalked, and human-0introduced arrivals such as kiore had dramatic ecological repercussions. Within a few centuries, the moa were gone. (shrink)