Responses are strengthened by consequences having to do with the survival of individuals and species. With respect to the provenance of behavior, we know more about ontogenic than phylogenic contingencies. The contingencies responsible for unlearned behavior acted long ago. This remoteness affects our scientific methods, both experimental and conceptual. Until we have identified he variables responsible for an event, we tend to invent causes. Explanatory entities such as “instincts,” “drives,” and “traits” still survive. Unable to show how organisms can behave (...) effectively under complex circumstances, we endow them with special abilities permitting them to do so.Behavior exhibited by most members of a species is often accepted as inherited if all members were not likely to have been exposed to relevant ontogenic contingencies. When contingencies are not obvious, it is perhaps unwise to call any behavior either inherited or acquired, as the examples of churring in honey guides and following in imprinted ducklings show. Nor can the relative importance of phylogenic and ontogenic contingencies be argued from instances in which unlearned or learned behavior intrudes or dominates. Intrusions occur in both directions.Behavior influenced by its consequences seems directed toward the future, but only past effects are relevant. The mere fact that behavior is adaptive does not indicate whether phylogenic or ontogenic processes have been responsible for it. Examples include the several possible provenances of imitation, aggression, and communication. The generality of such concepts limits their usefulness. A more specific analysis is needed if we are to deal effectively with the two kinds of contingencies and their products. (shrink)

The Aesthetic Field develops an account of aesthetic experience that distinguishes four mutually interacting factors: the creative factor represented primarily by the artist; the appreciative one by the viewer, listener, or reader; the objective factor by the art object, which is the focus of the experience; and the performative by the activator of the aesthetic occurrence. Each of these factors both affects all the others and is in turn influenced by them, so none can be adequately considered apart from them. (...) Thus aesthetic appreciation, for example, has creative, objective, and performative aspects. This situation of four factors, together with social, cultural, technological, and historical influences on them, is called the aesthetic field. Although the factors are theoretically distinguishable, they are experienced as a unity. It is important, therefore, not to confound the theoretical explanation of aesthetic experience with the experience, itself. The aesthetic field has important implications for understanding the various individual arts, new developments in the arts, and the critical appraisal of the arts. Moreover, the concept transforms traditional issues in aesthetics. (shrink)

Although culturally prominent modernist influences account for much of Skinner's early behaviorism, the subsequent changes in his views are appropriately considered as postmodern and are indebted to other sources. These changes are strikingly apparent in his 1945 publication. "The Operational Analysis of Psychological Terms." In that publication. Skinner introduced a probabilistic three-term contingency for verbal behavior with an expanded contextualism and an increased emphasis on consequence with a clear alignment to pragmatism. Instead of reaffirming the mechanistic and necessitarian values of (...) modernism that he had previously embraced, Skinner was aligning himself with the postmodern values of pragmatism and selectionism. (shrink)