Biological accounts of art typically start with evolutionary, psychological or neurobiological theories. These approaches might be able to explain many of the similarities we see in art behaviors within and across human populations, but they don't obviously explain the differences we also see. Nor do they give us guidance on how we should engage with art, or the conceptual basis for art. A more comprehensive framework, based also on the ecology of art and how art behaviors get expressed in engineered (...) niches, can help us better understand the full range of art behaviors, their normativity and conceptual basis. (shrink)

The Evolution of Designs tells the history of the many analogies that have been made, since the end of the eighteenth century, between the evolution of organisms and the human production of artefacts – especially buildings.

Darwin's art collection : the prints, drawings, and photographs Darwin collected in the 1860s and 70s -- Illustrations and illusion : strategies Darwin used in illustrating his books -- Art, experience, and observation : Darwin's knowledge of art history and use of illustration in his books -- Darwin and the passions : how passion manuals informed Darwin's research -- Photography and evolution meet : connections between photography and biology in the 1860s -- Method to their madness : how (...) photography in mental hospitals influenced Darwin -- Laughing and crying : Darwin's quest for pictures of expressive babies -- Darwin's eyes and ears : the artists who guided Darwin's search for pictures -- Darwin's art photographer : Oscar Rejlander, Darwin's favorite photographer -- Rejlander's performances : posing for Darwin's pictures -- Alice, eugenics, and the spirit world : the aftermath of Darwin's experiments. (shrink)

Stephen Davies presents a fascinating exploration of the idea that art, and our aesthetic sensibilities more generally, should be understood as an element in human evolution. He asks: Do animals have aesthetics? Do our aesthetic preferences have prehistoric roots? Is art universal? What is the biological role of aesthetic and artistic behaviour?

A critical study of the growing use of evolutionary theory and neuroscience to interpret art. Explores the question of what is gained from using ideas and methods from the biological sciences in the analysis of art"--Provided by publisher.

Is art a form of communication? If so, what does art express or represent? How should we interpret the meaning of works created by more than one artist? Is art an adaptation, via natural selection? In what ways is art similar to—and different from—language? Art as Communication: Aesthetics, Evolution, and Signaling employs information theory, the theory of evolution, and the newly developed sender-receiver model of communication to reason about art, aesthetic behavior, and its communicative nature. Shawn Simpson considers (...) whether art, from a biological point of view, is the province of only humans or whether animals might reasonably be said to create art. Examining the work of evolutionary biologists, art theorists, linguists, and philosophers—including Charles Darwin, Stephen Davies, H. Paul Grice, and others—he addresses how well different theories of communication explain meaning and expression in art and argues that art is much more continuous with other forms of communication than previously thought. (shrink)

The role of the arts has become crucial to understanding the origins of “modern human behavior,” but continues to be highly controversial as it is not always clear why the arts evolved and persisted. This issue is often addressed by appealing to adaptive biological explanations. However, we will argue that the arts have evolved culturally rather than biologically, exploiting biological adaptations rather than extending them. In order to support this line of inquiry, evidence from a number of disciplines will be (...) presented showing how the relationship between the arts, evolution, and adaptation can be better understood by regarding cultural transmission as an important second inheritance system. This will allow an alternative proposal to be formulated as to the proper place of the arts in human evolution. However, in order for the role of the arts to be fully addressed, the relationship of culture to genes and adaptation will be explored. Based on an assessment of the cognitive, biological, and cultural aspects of the arts, and their close relationship with ritual and associated activities, we will conclude with the null hypothesis that the arts evolved as a necessary but nonfunctional concomitant of other traits that cannot currently be refuted. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art and Evolution:Spiegelman's The Narrative CorpseBrian BoydIHas art evolved, like opposable thumbs and the whites of our eyes? If it has, will knowing so help us understand better not just art in general but particular works, even works of avant-garde art? Over recent decades many have come to accept that not only have humans evolved from other animals but that many features of their minds and behavior can (...) be explained by the deep past of evolution.1 Yet art remains a puzzle for biocultural analysis. How can we explain art in the hard-nosed terms of biological advantage, especially if it lacks analogies or precursors in other species and seems so pleasurably part of being distinctly human?2Nevertheless we have good reasons to examine whether art might be an adaptation. All cognitively normal individuals in all known societies engage in some form of art, actively or at least passively: music and dance, story, visual art. No one has to be pressured into listening to music on a radio or an iPod. And like language but unlike reading and writing, art develops reliably to a basic level without special training.Art could be what evolutionary biologists call a byproduct, a mere side-effect of our bigger brains or of culture. Yet that seems unlikely. Byproducts by definition do not offer advantages in terms of survival and reproduction: a bodily or behavioral feature whose design offers such advantages we classify as an adaptation. But if art were a byproduct, if it offered on average no advantage in terms of survival and reproduction, many generations of intense evolutionary competition would have eliminated it. If art offered no benefits but exacted the costs it does in time, [End Page 31] energy and resources, it would over many generations have been selected against through the superior fitness of those less inclined to pay such costs, those who preferred to devote their time and energy to securing material or social advantage or simply to save energy by resting.We can understand art in all its varieties, I suggest, as cognitive play with pattern, with multiple, high-intensity patterns. Play exists throughout much of the animal kingdom: in all mammals in which it has been looked for, in birds, and even in invertebrates like octopi. Play, like sleep and dreaming, puzzles and fascinates biologists because it is so widespread and so highly conserved (evolutionary lineages in which play has arisen do not lose it as they continue to evolve) that it must fulfill some function, because it has high costs in energy and risk, and because its functions are not as evident as those of "serious" behavior.3The amount of play in a species correlates highly with the flexibility of its behavior. In all species in which it occurs, play seems remarkably self-rewarding. Animals like pigs and rats play compulsively. In fact this seems the core of play: the self-rewarding nature of play makes animals engage in exuberant, intense behaviors that, under conditions of relative security, allow them to extend their capacities and improve their competence in situations of minimal risk. The skills honed will prove of advantage in real world situations where it is too late to learn on the job, in situations like fight or flight. Because play is compulsive, animals engage in it again and again, incrementally altering their neural wiring, strengthening and speeding up synaptic pathways, improving their capacity and performance.Humans uniquely inhabit what has been called "the cognitive niche":4 we gain most of our advantages from intelligence. We have an appetite for information, and especially for pattern, for information that falls into meaningful arrays from which we can make rich inferences. We therefore like bright, distinct colors, crisp outlines, complex shape or surface design: think of our special fondness for butterflies and flowers. And we have an appetite for open-ended pattern, new kinds of patterns, not only the patterns we have evolved to detect automatically. Vervet monkeys signal to one another in different ways when they see snakes, or leopards, or eagles, because they need to react in different ways to different threats, but they never learn to associate... (shrink)

This essay reviews one of the most recent books in a trend of new publications proffering evolutionary theorising about aesthetics and the arts—themes within an increasing literature on aspects of human life and human nature in terms of evolutionary theory. Stephen Davies’ The Artful Species links some of our aesthetic sensibilities with our evolved human nature and critically surveys the interdisciplinary debate regarding the evolutionary status of the arts. Davies’ engaging and accessible writing succeeds in demonstrating the maturity and scope (...) of the field and his critique is timely and unparalleled. A laudable effort, however it may have benefited from espousing a co-evolutionary model more explicitly. Moreover there may be reason to question the usefulness of the standard set of distinctions (‘adaptation’, ‘spandrel’, ‘technology’) that Davies appeals to. (shrink)

As the title of this article suggests, the concept of the interface needs to be revisited in the context of biological media in order to infer some implications for the post-biological culture. A direct comparison of our media culture to the environmental notion of the media and the natural partitioning of the media by biological membranes becomes possible if we expand on the notions of media and interfaces in our technologically conditioned realities. The question of periphery and permeability of a (...) biological membrane will be addressed in the context of the theory of aesthetics. Although at first glance we are dealing only with subtle changes in the degree of permeability of an interface, suddenly selectiveness in permeability arises, and though an interface is considered simply peripheral, at a slight touch with an opposing media its role swiftly becomes central. Taking into account the functioning of a biological membrane, a remarkably resourceful technology, associations stem from the culture on the cellular level to the culture of human society, where the human being should not be limited to the concept of self, but operatively diffused into collective awareness. The technologies that we develop, and the media we employ and inhabit always meet at an interface. But there is more to the face-to-face meeting of media than a mere inert surface. Such a surface as a membrane is not abstractly thin but more like ‘infrathin’ – the term invented by the artist Marcel Duchamp. What happens at such confrontation of media of different kinds, of incomparable qualities, will be further discussed in the article. The dynamics of permeability at the periphery adjust the tension between heterogeneous qualities of the media to allow for coexistence, even for the emergence of new meanings. This heterogeneity can be experienced only within the interface, and therefore an inner view is proposed instead of a view from above, an inner view that prevents reduction of processes to commensurable, quantifiable objects. Since interface occurs at every interaction with the world, as explained in the theory of endophysics by biochemist Otto E. Rössler, we have to be aware of the problematics of this phenomenon, and we must rethink its potential. The interface is at the same time an opportunity, the interval we are given, where our drive to act is suppressed and our will to speculate prevails. By contemplating intricate biological solutions, this article hopes to further encourage the turn towards post-biological evolution of our awareness. (shrink)

The need to create art is found in every human society, manifest in many different ways across many different cultures. Is this universal need rooted in our evolutionary past? The Art Instinct reveals that it is, combining evolutionary psychology with aesthetics to shed new light on fascinating questions about the nature of art.

Originally published in 1961. The essays in this volume focus on the awareness of science and art, evolution and Freudian psychology. Besides the chapter on Darwin and Freud, the author discusses criticism, the fantasy element in drama and popular literature, the history of the novel, the motivation of science and the function of erotic art.

In recent years, the research field of the evolution of art has witnessed contributions from a wide range of disciplines across the "three cultures". In this thesis, I make both a critical review of existing explanations, and try to do elucidate the evolution of art by employing insights, methods and concepts from different disciplines. First, I critically evaluate the evidentiary criteria from standard evolutionary psychology some accounts employ to demonstrate that art qualifies as a human biological adaptation. I (...) argue that these criteria do not suffice to make that claim. Furthermore, I make the case for a cultural evolutionary approach to the arts. One commonly used evidentiary criterion for art as adaptation is the “tight fit” between artnbsp;human cognition, which is interpreted as suggesting that cognition has undergone selection to produce and appreciate art. However, disentangling cultural and genetic evolution allows formulating thenbsp;hypothesis that art has evolved culturally to match human cognition. Second, I observe that in ancient and modern hunter gatherer societies, artistic activities are virtually alwaysnbsp;with ritual. I discuss what this implies for the adaptive significance of art. Specifically, if the arts have culturally evolved in function of ritualistic purposes, their adaptive value has depended on the adaptiveness of ritual. Third, because architecture is characterized by the combination of utilitarian and aesthetic aspects, it is particularly interesting from an evolutionary perspective and therefore I devote special attention to it. Employing the cross-species comparative approach, I investigate two main purposes human architecture has in common with nonhuman animal constructions: protection andnbsp;Based on the phylogenetic approach I establish that protection may have been the primary function of building aptitudes in humannbsp;and that building was later co-opted for signaling purposes. Subsequently, I comparatively evaluate thenbsp;of signaling models in the cultural evolution of architectural aesthetics. Furthermore I combine insights from environmental psychology, niche construction and cultural evolution theory to develop the hypothesis that a function of religious monumental architecture may have been to support nbsp;or even to galvanize nbsp;social learning. Finally, I connect the account I developed to the cognitive science of religion. I complement the frequently held view that religious monumental architecture is a costly signal with the mechanism of sensory exploitation. I attempt to demonstrate that by exploiting thenbsp;response of awe in religious followers, religious monumental architecture promotes and regulates prosocial behavior and creates in them an openness to adopt supernatural beliefs. Fourth, I dealnbsp;the evolution of visual art, paying again special attention to cultural evolution andnbsp;explanatory value of sensory exploitation. I assert that the relatively late appearance of figurative art in the course of human evolution may be attributed to an increase in the number of social learning opportunities within and between human populations at that time. I support this assertion with archaeological data that indicate overall population growth and increased population densities at that time. These demographic changes, I argue, have allowed the retention and accumulation of innovations required for figurative art making. Contrary to previous accounts, I furthermore aim to show that this process doesnbsp;require figurative art to have served adaptive purposes. Employing sensory exploitation, I establish that figurative art could have evolved by exploiting pre-existing biases of evolved psychology. The dominant themes of upper Paleolithic and late stone age figurative art, animals and humans, seem to support this contention. Fifth, I present a number of experimental studies I conducted to verify whether contemporary art experts would have socially learned to resist exploitation of evolved psychology. One aspect ofrsquo;s exploitative power may be that it elicits aesthetic pleasure by pushing “pleasure buttons” that evolved for other purposes. Consequently, spectators may trade-off rewards from indulging in art and biological activities, resulting in less effort being allocated to reproduction. I contend that, while the generalnbsp; may indeed be exploited, experts, who are typically being exposed to high doses of art, may have socially learned to resist exploitation by selectively preferring art from prestigious art contexts. The latter would be in line with the claim that prestige bias may trump content biases of evolved psychology. The results of three experimental studies supportnbsp;contention. I find that laypeople's art appreciation is positively affected by a content bias for attractive faces, mediated by aesthetic pleasure, whereas experts' appreciation is positively affected by prestige and mediated by admiration for the artist. Moreover, experts confer lower appreciation to attractive compared to moderately attractive content, which is consistentnbsp;the contention that expertise and the use of prestige are associatednbsp;resistance against beautiful content that exploits evolved preferences. This research thus suggests that expertise moderates content and context biases, which may be of relevance to an ongoing debate about their relative importance as drivers of cultural evolution. In addition, this study provides a tentative but novel explanation for the fact, famously established by philosopher Arthur Danto, that beauty lost its central position in Western art during the 20th century. However my findings cannot exclude alternative explanations for the fact that art expert appreciation deviates from evolved aesthetic preferences. Further research may experimentally assess the role of prestige bias and resistance as drivers of this deviation versus other, previously suggested, potential processes. For example, preferences of experts may deviate on account of the fact that art serves as a badge of elite group membership and thus expert art appreciation as a means to distinguish oneself from the masses. Alternatively, art experts may seek intellectual challenges instead of pushing pleasure buttons. Future research may experimentally verify the respective roles of these different hypothesized mechanisms. In addition, it may be investigated how insights from sexual selection research may help elucidating the different processes at play in cultural evolution and particularly in the cultural evolution of art appreciation, given the commonalities between sexual selection and cultural selection models. (shrink)

This open access book assesses the prospects of (re)adopting organization as a pivotal concept in biology. It shows how organization can nourish biological thinking and practice, by reconnecting with the idea of biology as the science of organized systems. The book provides a comprehensive state-of-the-art picture of the characterizations and uses of the concept of organization in both biological science and philosophy of biology. It also deals with a variety of themes – including evolution, organogenesis, heredity, (...) cognition and ecology – with respect to which the concept of organization can guide the elaboration of original models and new experimental protocols. It will be of interest to biologists and scholars working in philosophy of science alike. (shrink)

Ch. 1. Divine plants and magical animals -- Ch. 2. Aesthetic effects of domestication -- Ch. 3. The rainforests of domestication -- Ch. 4. The rise of ornamental plants -- Ch. 5. Darwin's sublime -- Ch. 6. Playing God -- Ch. 7. Standards of excellence -- Ch. 8. Doubles -- Ch. 9. Kitsch plants -- Ch. 10. Bastard flowers -- Ch. 11. Biotechnology in the garden -- Ch. 12. Recent art involving DNA -- Ch. 13. Naming life -- Ch. 14. (...) Anthropocentrism and genetic art -- Ch.15. The angel of extinction -- Ch. 16. Seven breeding complexes -- Ch. 17. The slowest art -- Ch. 18. Breeding for wildness. (shrink)

Recent discussion of the arts has grown increasingly sympathetic to evolutionary psychology, a trend vividly captured in Denis Dutton's recent book The Art Instinct. Yet evolutionary psychologists have paid startlingly little attention to pragmatism, despite the fact that pragmatists also work in Darwin's wake and often interrogate the “two cultures” divide. An extended comparison of pragmatist and evolutionary aesthetics can help us recognize the more layered notion of “nature” running through pragmatism, and help us articulate what matters most for us (...) in the understanding of literary and other aesthetic phenomena. (shrink)

Creativity is commonly thought of as a positive advance for society that transcends the status quo knowledge. Humans display an inordinate capacity for it in a broad range of activities, with art being only one. Most work on creativity’s neural substrates measures general creativity, and that is done with laboratory tasks, whereas specific creativity in art is gleaned from acquired brain damage, largely in observing established visual artists, and some in visual de novo artists (became artists after the damage). The (...) verb “to create” has been erroneously equated with creativity; creativity, in the classic sense, does not appear to be enhanced following brain damage, regardless of etiology. The turning to communication through art in lieu of language deficits reflects a biological survival strategy. Creativity in art, and in other domains, is most likely dependent on intact and healthy knowledge and semantic conceptual systems, which are represented in several pathways in the cortex. It is adversely affected when these systems are dysfunctional, for congenital reasons (savant autism) or because of acquired brain damage (stroke, dementia, Parkinson’s), whereas inherent artistic talent and skill appear less affected. Clues to the neural substrates of general creativity and specific art creativity can be gleaned from considering that art is produced spontaneously mainly by humans, that there are unique neuroanatomical and neurofunctional organizations in the human brain, and that there are biological antecedents of innovation in animals. (shrink)

From his earliest published writings to his last, Roman Ingarden displayed an interest in theoretical biology and its efforts to clarify what distinguishes living organisms from other types of entities. However, many of his explorations of such issues are easily overlooked, because they don’t appear in works that are primarily ontological, metaphysical, or anthropological in nature but are “hidden” within his works on literary aesthetics, where Ingarden sought to define the nature of living organisms in order to compare literary (...) works to such entities. This article undertakes a historical textual analysis that traces the evolution of Ingarden’s thought regarding the nature of the literary work of art as an organism-like entity and uncovers its links with the simultaneous development of his systems theory and its central concept of the “relatively isolated system”: for Ingarden, a literary work and an organism are each a systematically transforming, “living,” functional-structural whole that comprises a system of hierarchically arranged and partially isolated elements whose harmonious interaction allows the literary work or organism to fulfill its chief function. Having completed that historical analysis, we test Ingarden’s assessment of works of art as organism-like entities in a novel context by investigating the organism-like qualities of the contemporary computer game; insofar as their AI-driven behavior displays a form of agency, such games might appear to be even more “alive” than traditional works of art. We show that Ingarden’s conceptual framework provides a useful tool for understanding the “organicity” of such games as works of art, despite the fact that they differ qualitatively from those art forms with which Ingarden was directly familiar. (shrink)

This article analyses 2001 in terms of what I term paleofuturism. Fusing deep future and deep past, this cyclical figure reconciles rational machinic intelligence with diverse repressed temporal layers: archaic cultures, the embryonic state of individuals, and bygone biological and geological eras. In 2001, paleofuturism is nourished by Nietzsche’s Übermensch of the future, reborn as a child, and by Jungian ideas of individuation, the reconciliation with the shadow of the collective unconscious that leads to the black cosmos itself. Further paleofuturist (...) contexts for 2001 are explored in the so-called “ancient astronaut thesis” of science fiction, speculative science, and pseudo-science. Finally, in minimalism and earth art of the late 1960s we meet a structural parallel to 2001’s bypassing of the organic human body, one that bridges the inorganic entropic realities of deep future and deep past. (shrink)

This article discusses the concept of Biomimicry, which has been applying in many fields, from nanotechnology to robotics. It is appearing in smart materials and machinic intelligence, for diverse purposes, being inspired by natural processes and organisms. The main application of Biomimicry has been to produce artifacts and ideas from what we can know about what nature has already done. While the mimesis has been removed from the vocabulary of Art, the works of some artists are still full of possibilities (...) to discuss under the concept of Biomimetics. Many artists have dedicated themselves to the development of works using the poiesis of hybridization and mimicry. How close they approach of Biomimetics? As examples, are brought Walmor Corrêa, Patrícia Piccinini, Liu Xue, Berlinde De Bruyckere, Alessandro Boezio, Joan Fontcoberta and Pere Formiguera. This discussion is the starting point for introduce my project “VIRIDIUM”, in which I´m developing some semiautonomous and translucent robots, printed in 3D. The poetic basis is the possibility that nature has in hybridizing and evolving, spontaneously, as well as being hybridized by genetic manipulation. I propose the development of objects / beings that do not exist in the nature but refer and simulate behaviors of those who inhabit the world, in different kingdoms of Nature. I describe the first stage of the project, which focuses the Plantae kingdom. Afterwards of the Biomimicry and darwinian evolution concepts I bring the concept of Artification, as a possible model of understanding the poetic process, both in “VIRIDIUM” and in the works of the artists chosen. (shrink)

Bio-art epitomizes a coalescence of art and sciences. It is an emerging contemporary artistic practice that uses a wide range of traditional artistic media interwoven with new artistic media that are biological in nature. This includes molecules, genes, cells, tissues, organs, living organisms, ecological niches, landscapes and ecosystems. In addition, bio-art expands into conceptual art using biological processes such as growth, cell division, photosynthesis and concepts of the origin of life and evolution, explaining them as new artistic media. In (...) this time of global challenges, bio-art communicates thoughts and feelings that involve relationships between the artist, science, public and the biological organism or biological concept. This article reviews the major challenges and driving forces that contributed to emerging biology-centered art and design. (shrink)

In recent years, the relation between contemporary academic philosophy and evolutionary theory has become ever more active, multifaceted, and productive. The connection is an active two-way street. In one direction, philosophers of biology make significant contributions to theoretical discussions about the nature of evolution. In the other direction, a broader group of philosophers appeal to Darwinian selection in an attempt to illuminate traditional philosophical puzzles. In grappling with these questions, this interdisciplinary collection includes cutting-edge examples from both directions (...) of traffic. The 30 contributions, written exclusively for this volume, are divided into six sections: _The Nature of Selection_, _Evolution and Information_, _Human Nature_, _Evolution and Mind_, _Evolution and Ethics_, and _Evolution, Aesthetics, and Art_. Many of the contributing philosophers and psychologists are international leaders in their fields. (shrink)

Denis Dutton’s The Art Instinct succeeds admirably in showing that it is possible to think about art from a biological point of view, and this is a significant achievement, given that resistance to the idea that cultural phenomena have biological underpinnings remains widespread in many academic disciplines. However, his account of the origins of our artistic impulses and the far-reaching conclusions he draws from that account are not persuasive. This article points out a number of problems: in particular, problems with (...) Dutton’s appeal to sexual selection, with his discussion of the adaptation/by-product distinction and its significance, and with drawing normative conclusions from evolutionary hypotheses. (shrink)

I taught for 8 years at a moderate evangelical liberal arts college. At one faculty meeting the topic turned to the challenge of dealing with controversial topics in the classroom, a pressing question given that many of our students came from extremely conservative backgrounds. One faculty member commented that he and his colleagues in the sciences avoided problems by never using the word “evolution” in the classroom. A number of us from the humanities immediately expressed shock and dismay. In (...) response, our colleague reassured us that science faculty were indeed teaching evolution, but they had learned they could be spared student resistance and parental phone calls by replacing the word “evolution” with “development.”I was reminded of this while reading Adam Shapiro’s fine book, Trying Biology: The Scopes Trial, Textbooks, and the Antievolution Movement in American Schools. Central to Trying Biology is the argument that the Scopes Trial was not the inevitable result of an eternal con .. (shrink)

Abstract.Stuart Kauffman's proposal in Investigations to ground a “general biology” in the laws of self‐organization governing systems of autonomous agents runs up against the methodological problem of how to integrate formal mathematical with semantic and semiotic approaches to the study of evolutionary development. Gilles Deleuze's concept of the virtual and C. S. Peirce's system of existential graphs provide a theoretical framework and practical art for answering this problem of method by modeling the creative event of collective self‐organization as both (...) represented and practiced in the scientific community. (shrink)

It is not good that nren should be alone. ^ - — Plekhanov Human beings are so divided, are becoming more and more divided, and more subdivided in themselves ...

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 53-66 [Access article in PDF] Art Selection, or the Preservation of Artworks in the Struggle for Art Christopher Perricone The argument of George C. Williams's book Adaptation and Natural Selection is against what biologists call the group selectionist view — that individuals will act on behalf of their species, or at least on behalf of the group to which they belong.1 Williams (...) showed, and now most biologists agree, "no creature could ever evolve the ability to help its species at the expense of itself. Only when the two interests coincided would it act selflessly."2 According to Matt Ridley, Williams is one of the towering figures in contemporary biology. Williams helps us to understand better what natural selection is and consequently helps us to understand better our place in the world. Williams claims that when we are dealing with life, "we are forced to invoke natural selection to achieve a complete explanation of an observed system."3 Physics and chemistry alone are not sufficient to explain life. Williams gives the example of a falling apple. If one has to explain the trajectory of the apple, the principles of mechanics are sufficient for providing an adequate explanation of the phenomenon. If, however, we were asked how the apple acquired its various properties, and why it has these properties instead of others, we would need the theory of natural selection, at least by implication. Only thus could we explain why the apple has a waterproof wax on the outside...why it contains dormant embryos....We would find that an impressive list of structural details and processes of the apple can be understood as elements of a design for an efficient role in the propagation of the tree from which it came."4Of course, a little over a hundred years before Williams published his book, Charles Darwin published Origin of Species, in which natural selection is the linchpin of his theory of evolution. Natural selection for Darwin not only helped to explain the competitive climate of the living world but its luscious fecundity as well. Natural selection works like this: Let's say you [End Page 53] have a population of large beaked and small beaked birds. The environment in which the birds live provides them with an abundant and nutritious supply of both large and small seeds. Typically the small beaked birds eat the small seeds. The large beaked birds are capable of eating both small and large seeds. However, a blight occurs killing off all the small seed producing trees causing the food supply of the small beaked birds to diminish to virtually nil. Given that the small beaked birds are unable to feed on the continued supply of large seeds, they are selected out or eliminated from that environment: either they must seek out another environment, or they die. The large beaked birds, however, are in this case more adaptable to the environment because they can eat large seeds, survive, and pass on their largebeaked traits to the next generation. Darwin characterizes this process as "the struggle for life." He says: Owing to this struggle, variations, however slight and from what ever cause proceeding, if they be in any way profitable to the individuals of a species, in their infinitely complex relation to other organic beings and to their physical conditions of life, will tend to the preservation of such individuals, and will generally be inherited by the offspring. The offspring, also, will thus have a better chance of surviving, for, of the many individuals of any species which are periodically born, but a small number can survive. I have called this principle, by which each slight variation, if useful, is preserved, by the term Natural Selection, in order to mark its relation to man's power of selection. But the expression often used by Mr. Herbert Spencer of the Survival of the Fittest is more accurate, and is sometimes equally convenient.5Darwin sums up his discussion of natural selection by saying that the idea explains... (shrink)

Cutting across boundaries of art and science, evolution is a fundamental process that has beguiled thinkers through the ages. This collection draws together world renowned thinkers and communicators with their own intriguing insights. In these essays they offer a feast of dazzling thoughts and ideas to challenge and enthrall the reader. Why and how do civilisations and societies change over time? Why do our cells develop the way they do? Why are some villages still villages while others have grown (...) into vast cities? Can we learn from our evolutionary past to plan a better future for our health and society? Tracing a line from the history of biological evolution, through the evolution of cultures, society, science and the universe, Evolution brings together intriguing parallels from all levels of life. From the evolution of the developing embryo to the evolution of a developing star, common threads develop into a fascinating story. (shrink)

Leading biologists and philosophers of biology discuss the basic theories and concepts of biology and their connections with ethics, economics, and psychology, providing a remarkably unified report on the “state of the art” in the philosophy of biology.

Human aesthetic experiences are pervasive; they are triggered by faces, art, natural scenery, foods, ideas, theories, and decision-making situations, among many sources, and seem to be a distinctive trait of our species. Our moral sense, understood as our capacity to judge events, actions, or people as good or bad, appropriate or inappropriate, also seems to be an exclusively human endowment (Ayala 2010). As part of the scientific efforts to characterize the biological foundations of our human uniqueness, recently there has been (...) interest in the brain’s underpinnings of aesthetic reactions to art on the one hand, and in the neural correlates of moral judgment and decision-making on the other (Greene and Paxton .. (shrink)

Aesthetics, like other philosophical subjects, has historically made use of «top down» methods. Recent discoveries in genetics, evolutionary psychology, paleoarchaeology, and neuroscience call for a new «naturalistic» or «bottom up» perspective. Combining these fields with behavioral biology and ethnoarts studies, I offer seven premises that underlie a new understanding of evolved predispositions of the brain/mind that all artists use to attract attention, sustain interest, and create, mold, and shape emotion. I describe aesthetic «primitives» in somatic and behavioral modalities, suggesting (...) that these were present in early sapiens and continue to influence human art making and aesthetic response today. Keywords: Aesthetic Mind; Neuroaesthetics, evolutionary aesthetics, cognitive aesthetics, evolution of art. (shrink)

There has been a recent surge of evolutionary explanations of art. In this article I evaluate one currently influential example, Brian Boyd’s recent book On the Origin of Stories: Evolution, Cognition, and Fiction (2009). The book offers a stimulating collection of findings, ideas, and hypotheses borrowed from a wide range of research disciplines (philosophy of art and art criticism, anthropology, evolutionary and developmental psychology, neurobiology, ethology, etc.), brought together under the umbrella of evolution. However, in so doing Boyd (...) lumps together issues that need to be separated, most importantly, organic and cultural evolution. In addition, he fails to consider alternative explanations to art as adaptation such as exaptation and constraint. Moreover, the neurobiological literature suggests current evidence of biological adaptation for most of the arts is weak at best. Given these considerations, I conclude by proposing to regard the arts instead as culturally evolved practices building on pre-existing biological traits. (shrink)

The issue of human nature is a perennial question – as obstinate as it is old. Human reflection on the human condition is a defining feature of the experience of being human. In our time, the idea of post-biological evolution, the design paradigm of NBIC-convergence and transhumanism – as a philosophy and a cultural movement – all confront and confound our traditional notions of human nature. Unlike previous challenges to established images of the human being, this re-assessment of human (...) nature has a practical aspect – for technology now seems poised to finally achieve the age-old aspiration of human control over human nature. At its core, the idea of post-biological evolution assumes the human condition as the object of engineering. The problem of the human being thus becomes an engineering problem, approached from an engineering perspective, which – in an essential way – is design orientated. Hence, the idea of the human being that underlies the apprehension of ourselves as such an object of engineering, is of vital significance. As such, this paper argues for the relevance of philosophical anthropology within the post-biological discourse. (shrink)

The role of evolutionary theory at the origin of life is an extensively debated topic. The origin and early development of life is usually separated into a prebiotic phase and a protocellular phase, ultimately leading to the Last Universal Common Ancestor. Most likely, the Last Universal Common Ancestor was subject to Darwinian evolution, but the question remains to what extent Darwinian evolution applies to the prebiotic and protocellular phases. In this review, we reflect on the current status of (...) evolutionary theory in origins of life research by bringing together philosophy of science, evolutionary biology, and empirical research in the origins field. We explore the various ways in which evolutionary theory has been extended beyond biology; we look at how these extensions apply to the prebiotic development of (proto)metabolism; and we investigate how the terminology from evolutionary theory is currently being employed in state-of-the-art origins of life research. In doing so, we identify some of the current obstacles to an evolutionary account of the origins of life, as well as open up new avenues of research. (shrink)

The biological and neurological capacity to symbolize, and the products of behavioral, cognitive, sociocultural, linguistic, and technological uses of symbols (symbolism), are fundamental to every aspect of human life. The Oxford Handbook of Human Symbolic Evolution explores the origins of our characteristically human abilities - our ability to speak, create images, play music, and read and write. The book investigates how symbolization evolved in human evolution and how symbolism is expressed across the various areas of human life. The (...) field is intrinsically interdisciplinary - considering findings from fossil studies, scientific research from primatology, developmental psychology, and of course linguistics. Written by world leading experts, thirty-eight topical chapters are grouped into six thematic parts that respectively focus on epistemological, psychological, anthropological, ethological, linguistic, and social-technological aspects of human symbolic evolution. The handbook presents an in-depth but comprehensive and interdisciplinary overview of the of the state of the art in the science of human symbolic evolution. This work will be of interest to academics and students active in all fields contributing to the study of human evolution. (shrink)

Human Evolution provides a comprehensive overview of hominid evolution, synthesising data and approaches from fields as diverse as physical anthropology, evolutionary biology, molecular biology, genetics, archaeology, psychology and philosophy. The book starts with chapters on evolution, population genetics, systematics, and the methods for constructing evolutionary trees. These are followed by a comprehensive review of the fossil history of human evolution since our divergence from the apes. Subsequent chapters cover more recent data, both fossil and (...) molecular, relating to the evolution of modern humans. A final section describes the evolution of culture, language, art, and morality.The authors are leading experts in two complementary fields of scholarship, physical anthropology and molecular evolution. Throughout the book they successfully integrate their expertise in evolutionary theory, phylogenetics, genomics, cultural evolution, language, aesthetics and morality to produce a cutting edge textbook, copiously illustrated and with an extensive and up-to-date bibliography. It will be suitable for both senior undergraduate and graduate level students taking courses on human evolution within departments of biology, anthropology, psychology and philosophy. The book will also appeal to a more general audience seeking a readable, up-to-date and inclusive treatment of human origins and evolution. (shrink)

Die Beziehung der Entwicklung des Lebens im Weltall - von den einfachsten Formen bis zu Leben mit Geist und Bewusstsein – zu der Physik, wie wir sie aus der unbelebten Natur kennen, ist Thema dieses Essays. Ist die Entstehung des Lebens Zufall, ist es Folge einer physikalischen Logik, die noch zu entdecken ist, oder ist „Lebensfreundlichkeit“ ein eigenes Prinzip des Naturgeschehens, das zum Beispiel offene Naturkonstanten der physikalischen Gesetze festlegt, zu denen die geheimnisvollen Grossen Zahlen der Kosmologie gehören – „The (...) Lore of Large Numbers…“? Wissenschaftlich bleibt diese Frage nicht eindeutig zu klären; intuitiv wird das „Prinzip lebensfreundlich“ der menschlichen Evolution wohl am ehesten gerecht. Dabei ist „lebensfreundlich“ in diesem Artikel nicht psychologisch im Sinne menschlicher Beziehungen gemeint, sondern eine Art Kurzbezeichnung für eine Physik, die im Kosmos irgendwann und irgendwo Leben, auch menschliches Leben mit Geist und Bewusstsein ermöglicht. Der Artikel ergänzt auch Texte des Autors über Physik und Bewusstsein, um physikalische und anthropologische Aspekte der Kosmologie (unter philpapers im Volltext). (shrink)

It is widely agreed that humans have specific abilities for cooperation and culture that evolved since their split with their last common ancestor with chimpanzees. Many uncertainties remain, however, about the exact moment in the human lineage when these abilities evolved. This article argues that cooperation and culture did not evolve in one step in the human lineage and that the capacity to stick to long-term and risky cooperative arrangements evolved before properly modern culture. I present evidence that Homo heidelbergensis (...) became increasingly able to secure contributions form others in two demanding Paleolithic public good games (PPGGs): cooperative feeding and cooperative breeding. I argue that the temptation to defect is high in these PPGGs and that the evolution of human cooperation in Homo heidelberngensis is best explained by the emergence of modern-like abilities for inhibitory control and goal maintenance. These executive functions are localized in the prefrontal cortex and allow humans to stick to social norms in the face of competing motivations. This scenario is consistent with data on brain evolution that indicate that the largest growth of the prefrontal cortex in human evolution occurred in Homo heidelbergensis and was followed by relative stasis in this part of the brain. One implication of this argument is that subsequent behavioral innovations, including the evolution of symbolism, art, and properly cumulative culture in modern Homo sapiens , are unlikely to be related to a reorganization of the prefrontal cortex, despite frequent claims to the contrary in the literature on the evolution of human culture and cognition. (shrink)

The concept of adaptation is employed in many fields such as biology, psychology, cognitive sciences, robotics, social sciences, even literacy and art,1 and its meaning varies quite evidently according to the particular research context in which it is applied. We expect to find a particularly rich catalogue of meanings within evolutionary biology, where adaptation has held a particularly central role since Darwin’s The Origin of Species (1859) throughout important epistemological shifts and scientific findings that enriched and diversified the (...) concept. Accordingly, a conceptual taxonomy of adaptation in evolutionary biology may help to disambiguate it. Interdisciplinary researches focused on adaptation would benefit from such a result. In the present work we recognize and define seven different meanings of adaptation: (1) individual fitness; (2) adaptation of a population; (3) adaptation as the process of natural selection; (4) adaptive traits; (5) molecular adaptation; (6) adaptation as structural tinkering; (7) plasticity. For convenience here, we refer to them as W-, P-, NS-, T-, M-, S- and PL-ADAPTATION. We present the seven meanings in some detail, hinting at their respective origins and conceptual developments in the history of evolutionary thought (references are offered for further deepening). However, it is important to point out that evolution researchers seldom if ever refer to a single meaning purified from the others. This applies also to the authors we cite as representatives of one of the seven meanings. In Discussion and Conclusion draw from our work some future perspectives for adaptation within evolutionary biology. (shrink)

This paper uses autocatalytic networks to model discontinuous cultural transitions involving cross-domain transfer, using as an illustrative example, artworks inspired by the oldest-known uncontested example of figurative art: the carving of the Hohlenstein-Stadel Löwenmensch, or lion-human. Autocatalytic networks provide a general modeling setting in which nodes are not just passive transmitters of activation; they actively galvanize, or “catalyze” the synthesis of novel nodes from existing ones This makes them uniquely suited to model how new structure grows out of earlier structure, (...) i.e., cumulative, generative network growth. They have been used to model the origin and early evolution of biological life, and the emergence of cognitive structures capable of undergoing cultural evolution. We conducted a study in which six individual creators and one group generated music, prose, poetry, and visual art inspired by the Hohlenstein-Stadel Löwenmensch, and answered questions about the process. The data revealed four through-lines by which they expressed the Löwenmensch in an alternative art form: lion-human hybrid, subtracting from the whole to reveal the form within, deterioration, and waiting to be found with a story to tell. Autocatalytic networks were used to model how these four spontaneously derived through-lines form a cultural lineage from Löwenmensch to artist to audience. We used the resulting data from three creators to model the cross-domain transfer from inspirational source to creative product. These four spontaneously-generated threads of cultural continuity formed the backbone of this Löwenmensch-inspired cultural lineage, enabling culture to evolve even in the face of discontinuity at the level conventional categories or domains. We know of no other theory of cultural evolution that accommodates cross-domain transfer or other forms of discontinuity. The approach paves the way for a broad scientific framework for the origins of evolutionary processes. (shrink)

This paper proposes that existing computational modeling research programs may be combined into platforms for the information of public policy. The main idea is that computational models at select levels of organization may be integrated in natural terms describing biological cognition, thereby normalizing a platform for predictive simulations able to account for both human and environmental costs associated with different action plans and institutional arrangements over short and long time spans while minimizing computational requirements. Building from established research programs, the (...) proposal aims to take advantage of current momentum in the direction of the integration of the cognitive with social and natural sciences, reduce start-up costs and increase speed of development. These are all important upshots given rising unease over the potential for AI and related technologies to shape the world going forward. (shrink)

Erect posture and large brain are two of the most significant anatomical traits that distinguish us from nonhuman primates. But humans are also different from chimpanzees and other animals, and no less importantly, in their behavior, both as individuals and socially. Distinctive human behavioral attributes include tool-making and technology; abstract thinking, categorizing, and reasoning; symbolic (creative) language; self-awareness and death-awareness; science, literature, and art; legal codes, ethics and religion; complex social organization and political institutions. These traits may all be said (...) to be components of human culture, a distinctively human mode of adaptation to the environment that is far more versatile and successful than the biological mode. Cultural adaptation is more effective than biological adaptation because its innovations are directed, rather than random mutations; because it can be transmitted "horizontally", rather than only "vertically", to descendants; and because cultural heredity is Lamarckian, rather than Mendelian, so that acquired characteristics can be inherited. I explore ethics as a distinctive human trait. The question whether ethical behavior is biologically determined may refer either to the capacity for ethics (i.e., the proclivity to judge human actions as either right or wrong), or to the moral norms accepted by human beings for guiding their actions. I will propose: (1) that the capacity for ethics is a necessary attribute of human nature; and (2) that moral norms are products of cultural evolution, not of biological evolution. (shrink)

Recent years witnessed an increased interest in formal pragmatics and especially the establishment of game theory as a new research methodology for the study of language use. Game and Decision Theory (GDT) are natural candidates if we look for a theoretical foundation of linguistic pragmatics. Over the last decade, a firm research community has emerged with a strong interdisciplinary character, where economists, philosophers, and social scientists meet with linguists. Within this field of research, three major currents can be distinguished: one (...) is closely related to the Gricean paradigm and aims at a precise foundation of pragmatic reasoning, the second originates in the economic literature and is concerned with the role of game theory in the context of language use, and the third aims at language evolution seen either from a biological or from a cultural perspective. Edited in collaboration with FoLLI, the Association of Logic, Language and Information, this volume is based on a selection of papers of two international conferences, one organised at ESSLLI in 2007 on language, games, and evolution, and the other organised at the ZAS in Berlin on games and decisions in pragmatics in 2008. This volume is rounded off by additional invited papers and now contains eight articles of leading researchers in the field which together provide a state-of-the-art survey of current research on language evolution and game theoretic approaches to pragmatics. (shrink)

To some, a misguided Lamarckian and a fraud, to others a martyr in the fight against Darwinism, the Viennese zoologist Paul Kammerer (1880-1926) remains one of the most controversial scientists of the early 20th century. Here his work is reconsidered in light of turn-of-the-century problems in evolutionary theory and experimental methodology, as seen from Kammerer's perspective in Vienna. Kammerer emerges not as an opponent of Darwinism, but as one would-be modernizer of the 19th-century theory, which had included a role for (...) the inheritance of acquired characteristics. Kammerer attempted a synthesis of Darwinism with genetics and the chromosome theory, while retaining the modifying effects of the environment as the main source of favorable variation, and he developed his program of experimentation to support it. Kammerer never had a regular university position, but worked at a private experimental laboratory, with sidelines as a teacher and a popular writer and lecturer. On the lecture circuit he held forth on the significance of his science for understanding and furthering cultural evolution and he satisfied his passion for the arts and performance. In his dual career as researcher and popularizer, he did not always follow academic convention. In the contentious and rapidly changing fields of heredity and evolution, some of his stances and practices, as well as his outsider status and part-Jewish background, aroused suspicion and set the stage for the scandal that ended his career and prompted his suicide. (shrink)

As if that weren't enough of a puzzle, the more biologically frivolous and vain the activity, the more people exalt it. Art, literature, and music are thought to be not just pleasurable but noble. They are the mind's best work, what makes life worth living. Why do we pursue the biologically trivial and futile and experience them as sublime? To many educated people the question seems horribly philistine, even immoral. But it is unavoidable for anyone interested in the makeup of (...) [Homo sapiens]. Members of our species do mad deeds like living for their art and (in India) selling their blood to buy movie tickets. Why? How might we understand the psychology of the arts within the modern understanding of the brain as a biological organ shaped by the forces of evolution? (shrink)

Culture can be defined as “group typical behaviour patterns shared by members of a community that rely on socially learned and transmitted information”. Once thought to be a distinguishing characteristic of humans relative to other animals it is now generally accepted to exist more widely, with especially abundant evidence in non-human primates, cetaceans, and birds. More recently, cumulative cultural evolution has taken on this distinguishing role. CCE, it is argued, allows humans, uniquely, to ratchet up the complexity or efficiency (...) of cultural traits over time. This “ratchet effect” gives the capacity to accumulate beneficial modifications over time beyond the capacities of a single individual. Mesoudi and Thornton define a core set of criteria for identifying CCE in humans and non-human animals that places emphasis on some performance measure of traits increasing over time. They suggest this emphasis is also pertinent to cultural products in the aesthetic domain, but is this the case? Music, art and dance evolve over time, but can we say they gain beneficial modifications that increase their aesthetic value? Here we bring together perspectives from philosophy, musicology and biology to build a conceptual analysis of this question. We summarise current thinking on cumulative culture and aesthetics across fields to determine how aesthetic culture fits into the concept of CCE. We argue that this concept is problematic to reconcile with dominant views of aesthetics in philosophical analysis and struggles to characterise aesthetic cultures that evolve over time. We suggest that a tension arises from fundamental differences between cultural evolution in aesthetic and technological domains. Furthermore, this tension contributes to current debates between reconstructive and preservative theories of cultural evolution. (shrink)

This book inquires into the swarm of ontological, epistemological, and ethical questions provoked by psychedelic experience in the context of global ecological crisis. Richard M. Doyle is professor of English and science, technology, and society at Pennsylvania State University. He is the author of On Beyond Living and Wetwares.

Experimental research with human infants has demonstrated a level of sensitivity to music comparable to that of musically unsophisticated adults. This evidence points to the biologically hard‐wired nature of musical responsivity, and further raises the question of the evolutionary roots of the phenomenon. The question is addressed by examining (1) the ontogenetic and phylogenetic order in which speech and music are acquired, (2) the possible adaptive properties of music and dance, and (3) cognitive evolutionary retrodictions about the period in prehistory (...) when art began. Much uncertainty continues to surround these issues, but there is a strong indication that the performing and visual arts are natural phenomena with distinctively different evolutionary roots. (shrink)

Intrigued by Robinson and Southgate's 2010 work on “entering a semiotic matrix,” we expand their model to include the juxtaposition of all signs, symbols, and mental categories, and to explore the underpinnings of creativity in science, religion, and art. We rely on an interdisciplinary review of human sentience in archaeology, evolutionary biology, the cognitive science of religion, and literature, and speculate on the development of sentience in response to strong selection pressure on the hominin evolutionary line, leaving us the (...) “lone survivors” of complex, multiple lines of physical and cultural evolution. What we call Matrix Thinking—the creative driver of human sentience—has important cognitive and intellectual features, but also equally important characteristics traced to our intense sociability and use of emotionality in vetting rational models. Scientist, theologian, and artist create new cultural knowledge within a social context even if alone. They are rewarded by emotional validation from group members, and guided by the ever present question, “Does it feel right?”. (shrink)