The modern synthesis in evolutionary biology is taken to be that period in which a consensus developed among biologists about the major causes of evolution, a consensus that informed research in evolutionary biology for at least a half century. As such, it is a particularly fruitful period to consider when reflecting on the meaning and role of chance in evolutionary explanation. Biologists of this period make reference to “chance” and loose cognates of “chance,” such as: “random,” “contingent,” “accidental,” “haphazard,” or (...) “stochastic.” Of course, what an author might mean by “chance” in any specific context varies. -/- In the following, we first offer a historiographical note on the synthesis. Second, we introduce five ways in which synthesis authors spoke about chance. We do not take these to be an exhaustive taxonomy of all possible ways in which chance meaningfully figures in explanations in evolutionary biology. These are simply five common uses of the term by biologists at this period. They will serve to organize our summary of the collected references to chance and the analysis and discussion of the following questions: • What did synthesis authors understand by chance? • How did these authors see chance operating in evolution? • Did their appeals to chance increase or decrease over time during the synthesis? That is, was there a “hardening” of the synthesis, as Gould claimed (1983)? (shrink)

There are several different ways in which chance affects evolutionary change. That all of these processes are called “random genetic drift” is in part a due to common elements across these different processes, but is also a product of historical borrowing of models and language across different levels of organization in the biological hierarchy. A history of the concept of drift will reveal the variety of contexts in which drift has played an explanatory role in biology, and will shed light (...) on some of the philosophical controversy surrounding whether drift is a cause of evolutionary change. (shrink)

Speciation is the process by which one or more species arises from a common ancestor, and “macroevolution” refers to patterns and processes at and above the species level – or, transitions in higher taxa, such as new families, phyla or genera. “Macroevolution” is contrasted with “microevolution,” evolutionary change within populations, due to migration, assortative mating, selection, mutation and drift. In the evolutionary synthesis of the 1930’s and 40’s, Haldane , Dobzhansky , Mayr , and Simpson argued that the origin of (...) species and higher taxa were, given the right environmental conditions and sufficient time, the product of the same microevolutionary factors yielding change within populations. Dobzhansky reviewed the evidence from genetics, and argued, “nothing in the known macroevolutionary phenomena would require other than the known genetic principles for causal explanation” . In sum, genetic variation between species was not different in kind from the genetic variation within species. Dobzhansky concluded that one may “reluctantly put an equal sign” between micro- and macroevolution. In this chapter, I review arguments for and against this "neo-Darwinian" consensus on speciation, as well as debates concerning macroevolution and punctuated equilibrium. (shrink)

In the past five years, there have been a series of papers in the journal Evolution debating the relative significance of two theories of evolution, a neo-Fisherian and a neo-Wrightian theory, where the neo-Fisherians make explicit appeal to parsimony. My aim in this paper is to determine how we can make sense of such an appeal. One interpretation of parsimony takes it that a theory that contains fewer entities or processes, (however we demarcate these) is more parsimonious. On the account (...) that I defend here, parsimony is a ‘local’ virtue. Scientists’ appeals to parsimony are not necessarily an appeal to a theory’s simplicity in the sense of it’s positing fewer mechanisms. Rather, parsimony may be proxy for greater probability or likelihood. I argue that the neo-Fisherians appeal is best understood on this interpretation. And indeed, if we interpret parsimony as either prior probability or likelihood, then we can make better sense of Coyne et al. argument that Wright’s three phase process operates relatively infrequently. (shrink)

Abstract:In this paper, I distinguish four ways in which aspects or features of mental illness may be said to be functional. I contend that discussion of teleological perspectives on mental illness has unfortunately tended to conflate these senses. The latter two senses have played important practical roles both in predicting and explaining patterns of behavior, cognition, and affective response, atnd relatedly, in developing successful interventions. I further argue that functional talk in this context is neither inconsistent with viewing some disorders (...) as dysfunctional in one of several senses, nor inappropriately adaptationist, provided we keep these senses of function distinct, and are precise about which is in play in a given context. (shrink)

In 1968, Motoo Kimura submitted a note to Nature entitled “Evolutionary Rate at the Molecular Level,” in which he proposed what has since become known as the neutral theory of molecular evolution. This is the view that the majority of evolutionary changes at the molecular level are caused by random drift of selectively neutral or nearly neutral alleles. Kimura was not proposing that random drift explains all evolutionary change. He does not challenge the view that natural selection explains adaptive evolution, (...) or, that the vertebrate eye or the tetrapod limb are products of natural selection. Rather, his objection is to “panselectionism’s intrusion into the realm of molecular evolutionary studies”. According to Kimura, most changes at the molecular level from one generation to the next do not affect the fitness of organisms possessing them. King and Jukes (1969) published an article defending the same view in Science, with the radical title, “Non- Darwinian Evolution,” at which point, “the fat was in the fire” (Crow, 1985b). The neutral theory was one of the most controversial theories in biology in the late twentieth century. This chapter will review the debate over the netural theory subsequent to Kimura. (shrink)

Roderic Page’s new book, Tangled Trees: Phylogeny, Cospeciation and Coevolution (2003), is a worthwhile read for anyone interested in either methodological issues in systematics, or how organisms shape one another’s selective environments. “Cospeciation,” for the uninitiated, is the concurrent speciation of two or more lineages that are ecologically associated (e.g. host-parasite associations, as well as mutualistic or symbiotic associations). “Coevolution,” in contrast, is the reciprocal adaptation of hosts and parasite taxa. The main focus of Page’s book is thus when, how (...) and why the branching process of host taxa mirrors that of parasite taxa. “Parasite” here is broadly conceived to be anything from a louse to a virus to a retrotransposon, and “host” may be anything from a genome to a whale. (shrink)

Since its initial publication in 2018, Professor Anya Plutynski’s Explaining Cancer: Finding Order in Disorder has garnered a great deal of accolades.1 In 2021, The London School of Economics and Political Science conferred Professor Plutynski the Lakatos Award, recognizing the book’s significant contribution to the philosophy of science. On the heels of its recent reissuing as a paperback, it is an ideal time to revisit this remarkable work.

ABSTRACTThe central hypothesis of this paper is that the phenomenology of Merleau-Ponty offers significant philosophical groundwork for an ethics that honours key feminist commitments – embodiment, situatedness, diversity and the intrinsic sociality of subjectivity. Part I evaluates feminist criticisms of Merleau-Ponty. Part II defends the claim that Merleau-Ponty’s non-dualist ontology underwrites leading approaches in feminist ethics, notably Care Ethics and the Ethics of Vulnerability. Part III examines Merleau-Ponty’s analyses of embodied percipience, arguing that these offer a powerful critique of the (...) view from nowhere, a totalizing God’s-eye-view with pretensions to objectivity. By revealing the normative structure of perceptual gestalts in the intersubjective domain, he establishes the view from everywhere. Normativity is no longer deferred to higher authorities such as duty, utility or the valorized virtue, but through the perceptual gestalt it is returned to the perceiving embodied subject. This... (shrink)

This article explores the issue of homelessness from the perspective of someone who has experienced homelessness, as someone who has worked with the homeless and heard the stories of ‘our friends on the street’, as a mother distressed to see other mothers’ children, no matter their age, in such dire circumstances, and as a philosopher driven to interrogate the hidden assumptions and beliefs motivating our choices, judgments, and behavior. I wish to stress that homelessness must be addressed from the philosophical (...) perspective not only with regard to the individual, but also with regard to the individual as belonging to the ‘we’. This ‘we’ must include all the people involved, from the homeless person laying out her swag under the bridge, to the policy-makers earning fabulous salaries. I’ll propose that a deeper understanding of what’s called ‘double incorporation’ is a crucial step towards galvanizing political will to implement solutions that have already been identified. (shrink)

The overall aim of this paper is to defend the value of the arts as uniquely instructive regarding philosophical questions. Specifically, I aim to achieve two things: firstly, to show that through the phenomenological challenge to dualist and monist ontologies the key debate in aesthetics regarding subjective response and objective judgment is reconfigured and resolved. I argue that Merleau-Ponty’s analyses complement and complete Kant’s project. Secondly, I propose that through Merleau-Ponty’s phenomenological interrogations of the creative process the broader issue of (...) the viability of his relational nondualist ontology is defended against accusations that it has not gone beyond dualism or that it has collapsed into a monism. (shrink)

This research work is a conscious participation in African philosophy, precisely on Asouzu’s notion of Ihe Mkpuchi Anya (The Phenomenon of Concealment). The work attempts to address some of the challenges of human ambivalent situations that are visible in the way we judge, act, will, value, conceive reality and so forth. In this work we argued that human beings are conscious beings. Due to this consciousness, their actions are difficult to predict. Actors themselves often act against their interests because (...) of the unfathomable nature of their actions. Often time they cannot predict themselves, what appeared to be good from the onset may turn out to be bad once it is done. We deduced that if actors can sometimes act against their interests and/ or act to promote their most cherished interests, regardless of negative consequences then, there must be something responsible for that. We concluded that human beings act under the influence of ihe mkpuchi anya (the phenomenon of concealment). This phenomenon has the capacity to impair our vision, becloud our sights, affect the way we reason and cause us to pass wrong judgments on issues confronting us as individuals and/ or as a community. Finally, we recommended that human beings can act rightly by suppressing and avoiding things that are detrimental to him and or to another. It is only when man does the above recommended things that the society can grow harmoniously in every aspect. We employed the critical, analytical, expository and complementary methods in the course of researching. (shrink)

I recommend this balanced, tripartite examination of phenomenology, psychology, and neuroscience.

Introduction to Special Issue of Review of Philosophy and Psychology. Overview of the central issues in cognitive architecture, epistemology, and ethics surrounding cognitive penetrability. Special issue includes papers by philosophers and psychologists: Gary Lupyan, Fiona Macpherson, Reginald Adams, Anya Farennikova, Jona Vance, Francisco Marchi, Robert Cowan.

La categoría ‘arte conceptual’ se aplica a una gran cantidad de obras de arte contemporáneo. El artista Sol LeWitt introdujo el término en la jerga del arte al describir obras de arte donde “la idea o el concepto es el aspecto más importante de la obra” (LeWitt 1967: 79, traducción mía). Inicialmente, el término se utilizó para referirse a obras producidas entre finales de los años sesenta y principios de los setenta por artistas como Sol LeWitt, Robert Barry, Lawrence Weiner, (...) On Kawara, Joseph Kosuth, John Baldessari, el grupo Art & Language y otros (véase Lippard 1973). En España fueron relevantes el Grup de Treball, Zaj o Esther Ferrer entre otros. Más tarde se hizo evidente no solo que obras como Fuente (1917) de Marcel Duchamp – un urinario de porcelana, que fue firmado “R. Mutt” y presentado para una exposición de la Sociedad de Artistas Independientes – tenían mucho en común con aquellas producidas a finales de la década de 1960 y principios de la de 1970, sino también que obras de arte conceptual continuaron siendo producidas a lo largo de la década de 1970 y las décadas siguientes, hasta el punto de que podría argumentarse que gran parte del arte contemporáneo es, en cierta medida, conceptual. -/- Es característico de los primeros autores conceptuales el uso del lenguaje natural en obras que son en principio visuales o plásticas, como las frases de Weiner, las definiciones de Kosuth o los ensayos de Art&Language. Se trata de un interés por el significado y el lenguaje heredado de la semiótica y la filosofía analítica de la época. También señala el énfasis (a menudo exclusivo) de todas las obras de arte conceptual en el elemento conceptual, como ocurre en los dibujos y pinturas murales de LeWitt, donde el artista produjo las instrucciones para su ejecución, luego las realizó en colaboración con otros, o transfirió completamente a otros esta tarea. Otra característica de las primeras obras de arte conceptual es que los artistas no manipularon ningún material para producir un objeto (como en Fuente de Duchamp) o usaron materiales excéntricos como el lenguaje natural, su propio cuerpo -como en I am the locus (# 1) (1975) de Adrian Piper, una performance en la que la artista se pegó un bigote en la cara, se puso una peluca Afro y anteojos redondos con montura de alambre y caminó en las calles actuando como un hombre-, o el chocolate con el que Anya Gallaccio revistió las paredes de un viejo edificio agrícola en Stroke (2004), dejando que el público las tocara y que el chocolate se pudriese. -/- Debido a sus características inusuales, el arte conceptual plantea muchas preguntas filosóficas: sobre la definición de arte, sobre la ontología y los medios de las obras de arte y sobre nuestra experiencia apreciativa de ellas. En lo que sigue, presentaré brevemente cada uno de estos temas. (shrink)

Now that she is old enough to be taken to boring, so-called “cultural” events by her aging, academic relatives, we have just taken Anya to see a performance of Julius Caesar. When it’s over, we discuss the acting, the poetry, the famous lines. At some point, Anya asks: “I wonder if it happened like that?” Anya has not radically misunderstood what we just watched; she did not, for example, rush down and yell at Caesar that he’d better (...) read that scroll. Her question is not uncommon as a response to a history play, from audience members both young and old. It is perfectly intelligible; I would like to give her an answer. Before I sketch some possible answers, it is worth saying something more about Anya’s. (shrink)