In this paper, I review arguments that have been offered in favor of the view that humans' art and/or aesthetic behaviors are (in part) a product of our biologically evolved human nature, either as adaptations in their own right or as incidental byproducts of adaptations with non-art and non-aesthetic functions. I present an overview of the main positions and options, critically evaluate their strengths and weaknesses, and outline their presuppositions.

This article offers a fresh assessment of the views of the American paleontologist and evolutionary biologist Stephen Jay Gould on the relation of science and religion. Gould is best known for his celebrated notion of “nonoverlapping magisteria,” which is often seen in somewhat negative terms as inhibiting dialogue. However, as a result of his critique of the unificationist approach to knowledge developed in Edward O. Wilson's Consilience, Gould later made increased use of the more positive notion of a “consilience of (...) equal regard,” which recognized the porous nature of disciplinary divides and the propriety of interdisciplinary dialogue. Gould's final views on the relation of science and religion, set out in The Hedgehog, the Fox, and the Magister's Pox, published after his death, affirms the distinctiveness and autonomy of science and religion on the one hand, while encouraging their constructive dialogue and productive interaction on the other. This should now be seen as Gould's definitive statement on this question. (shrink)

The sympathetic plot—featuring a goal-directed protagonist who confronts obstacles, overcomes them, and wins rewards—is ubiquitous. Here, I propose that it recurs because it entertains, engaging two sets of psychological mechanisms. First, it triggers mechanisms for learning about obstacles and how to overcome them. It builds interest by confronting a protagonist with a problem and induces satisfaction when the problem is solved. Second, it evokes sympathetic joy. It establishes the protagonist as an ideal cooperative partner pursuing a goal, appealing to mechanisms (...) for helping. When the protagonist succeeds, they receive rewards, and audiences feel sympathetic joy, an emotion normally triggered when beneficiaries triumph. The capacities underlying the sympathetic plot evolved for learning and cooperation before being co-opted for entertainment. (shrink)

Stories do not fossilize. Thus, exploring tales shared during prehistory, the longest part of human history inevitably becomes speculative. Nevertheless, various attempts have been made to find a more scientifically valid way into our deep human past of storytelling. Following the social brain hypothesis, we suggest including into the theory of human storytelling more fine-grained and evidence-based findings about the manifold exaptation and adaptation, genetic changes, and phenotypic plasticity in the deep human past, which all shaped the emergence of storytelling (...) in hominins. We identify three preconditions for humans sharing stories: first, the long evolution of language in the different taxa as one of the preconditions of ostensive signaling; second, the pivotal role of childhood in the evolution of collaborative intentionality; and third, the role of fireside chats in the rise of elaborative sharing of stories. We propose that humans, albeit perhaps no other hominins learned to understand others through sharing stories, not only as intentional agents, but also as mental ones. (shrink)

In this paper we propose a narrative hypothesis on the nature of language and a proto-discursive hypothesis on the origin of our communicative abilities. Our proposal is based on two assumptions. The first assumption, concerning the properties of language, is tied to the idea that global discourse coherence governs the origin of our communicative abilities as well the functioning of these abilities. The second assumption, concerning processing devices, is connected to the idea that the systems of spatial and temporal navigation (...) are implicated in discourse coherence processing. Analysis of the relationship between these two assumptions allows us to integrate the model of language based on clues proposed by Sperber and Wilson with Relevance Theory with the discursive foundation of human communication. In this respect, our proposal can be considered as a tentative extension of Relevance Theory. (shrink)

Why do humans make music? Theories of the evolution of musicality have focused mainly on the value of music for specific adaptive contexts such as mate selection, parental care, coalition signaling, and group cohesion. Synthesizing and extending previous proposals, we argue that social bonding is an overarching function that unifies all of these theories, and that musicality enabled social bonding at larger scales than grooming and other bonding mechanisms available in ancestral primate societies. We combine cross-disciplinary evidence from archeology, anthropology, (...) biology, musicology, psychology, and neuroscience into a unified framework that accounts for the biological and cultural evolution of music. We argue that the evolution of musicality involves gene–culture coevolution, through which proto-musical behaviors that initially arose and spread as cultural inventions had feedback effects on biological evolution because of their impact on social bonding. We emphasize the deep links between production, perception, prediction, and social reward arising from repetition, synchronization, and harmonization of rhythms and pitches, and summarize empirical evidence for these links at the levels of brain networks, physiological mechanisms, and behaviors across cultures and across species. Finally, we address potential criticisms and make testable predictions for future research, including neurobiological bases of musicality and relationships between human music, language, animal song, and other domains. The music and social bonding hypothesis provides the most comprehensive theory to date of the biological and cultural evolution of music. (shrink)

Utilizing an evolutionary perspective has proven fruitful in a number of areas of interest outside of the standard psychological or anthropological topics. This includes a wide range of fields from applied disciplines such as law, criminology, medicine, and marketing, to the study of the imagined worlds found in art and literature, the domains of the humanities. A number of excellent books, as well as numerous articles, detail the impressive work done in applying evolutionary insights to the study of art and (...) literature. This article focuses on evolutionarily informed explorations of popular culture, an area that, only relatively recently, has benefited from research taking this approach. The existing scholarship in this area will be reviewed, and future directions and challenges highlighted. (shrink)

What was the role of music in the evolutionary history of human beings? We address this question from the point of view that musicality can be defined as a cognitive trait. Although it has been argued that we will never know how cognitive traits evolved (Lewontin, 1998), we argue that we may know the evolution of music by investigating the fundamental cognitive mechanisms of musicality, for example, relative pitch, tonal encoding of pitch, and beat induction. In addition, we show that (...) a nomological network of evidence (Schmitt & Pilcher, 2004) can be built around the hypothesis that musicality is a cognitive adaptation. Within this network, different modes of evidence are gathered to support a specific evolutionary hypothesis. We show that the combination of psychological, medical, physiological, genetic, phylogenetic, hunter–gatherer, and cross-cultural evidence indicates that musicality is a cognitive adaptation. (shrink)