In this paper we argue that sensory exploitation, a model from sexual selection theory, deserves more attention in evolutionary thinking about art than it has up until now. We base our argument on the observation that in the past sensory exploitation may have been underestimated in sexual selection theory but that it is now winning field. Likewise, we expect sensory exploitation can play a more substantial role in modeling the evolution of art behavior. Darwin's theory of sexual selection provides a (...) mechanistic basis to explain the evolution of male display traits. This mechanistic approach has proven useful to developing hypotheses about the evolution of human art. Both Boyd and Richerson (1985) and Miller (1998, 1999, 2000, 2001) have applied an indirect-benefit model from sexual selection to the evolution of art behavior. We argue that the mechanistic possibilities sensory exploitation has to offer as a model have remained underexplored so far, so we propose a concept based upon it. From the sensory exploitation perspective it follows that exaptive exploitation of psychosensory biases is a primary force in the evolution of art production (notice that the use of a model from sexual selection does not imply art evolved as a sexual display - we only use it for its mechanism) and that the indirect-benefit model only provides secondary forces. Thus, sensory exploitation may operate alone under some conditions but usually secondary processes as a result of indirect benefits are expected to kick in. The concept of sensory exploitation will need to play a central role in articulating all of the existing hypotheses about art. (shrink)

o Ellen Dissanayake, the arts are biologically evolved propensities of human nature: their fundamental features helped early humans adapt to their environment and reproduce themselves successfully over generations. In Art and Intimacy she argues for the joint evolutionary origin of art and intimacy, what we commonly call love. It all begins with the human trait of birthing immature and helpless infants. To ensure that mothers find their demanding babies worth caring for, humans evolved to be lovable and to attune themselves (...) to others from the moment of birth. The ways in which mother and infant respond to each other are rhythmically patterned vocalizations and exaggerated face and body movements that Dissanayake calls rhythms and sensory modes. -/- Rhythms and modes also give rise to the arts. Because humans are born predisposed to respond to and use rhythmic-modal signals, societies everywhere have elaborated them further as music, mime, dance, and display, in rituals which instill and reinforce valued cultural beliefs. Just as rhythms and modes coordinate and unify the mother-infant pair, in ceremonies they coordinate and unify members of a group. -/- Today we humans live in environments very different from those of our ancestors. They used ceremonies (the arts) to address matters of serious concern, such as health, prosperity, and fecundity, that affected their survival. Now we tend to dismiss the arts, to see them as superfluous, only for an elite. But if we are biologically predisposed to participate in artlike behavior, then we actually need the arts. Even -- or perhaps especially -- in our fast-paced, sophisticated modern lives, the arts encourage us to show that we care about important things. (shrink)

All normal human beings alive in the last fifty thousand years appear to have possessed, in Mark Turner's phrase, 'impressively atful minds'. Cognitively modern minds produced a staggering list of behavioural singularities - science, religion, mathematics, language, advanced tool use, decorative dress, dance, culture, art - that seems to indicate a mysterious and unexplained discontinuity between us and all other living things. This brute fact gives rise to some tantalizing questions: How did the artful mind emerge? What are the basic (...) mental operations that make art possible for us now, and how do they operate? These are the questions that occupy the distinguished contributors to this book, which emerged from a year-long Getty-funded research project hosted by the Centre for Advanced Study in the Behavioural Sciences at Stanford. (shrink)

What is morality? Where does it come from? And why do most of us heed its call most of the time? In Braintrust, neurophilosophy pioneer Patricia Churchland argues that morality originates in the biology of the brain. She describes the "neurobiological platform of bonding" that, modified by evolutionary pressures and cultural values, has led to human styles of moral behavior. The result is a provocative genealogy of morals that asks us to reevaluate the priority given to religion, absolute rules, and (...) pure reason in accounting for the basis of morality. Moral values, Churchland argues, are rooted in a behavior common to all mammals--the caring for offspring. The evolved structure, processes, and chemistry of the brain incline humans to strive not only for self-preservation but for the well-being of allied selves--first offspring, then mates, kin, and so on, in wider and wider "caring" circles. Separation and exclusion cause pain, and the company of loved ones causes pleasure; responding to feelings of social pain and pleasure, brains adjust their circuitry to local customs. In this way, caring is apportioned, conscience molded, and moral intuitions instilled. A key part of the story is oxytocin, an ancient body-and-brain molecule that, by decreasing the stress response, allows humans to develop the trust in one another necessary for the development of close-knit ties, social institutions, and morality. A major new account of what really makes us moral, Braintrust challenges us to reconsider the origins of some of our most cherished values. (shrink)

Hypotheses regarding the selective pressures driving the threefold increase in the size of the hominid brain since Homo habilis include climatic conditions, ecological demands, and social competition. We provide a multivariate analysis that enables the simultaneous assessment of variables representing each of these potential selective forces. Data were collated for latitude, prevalence of harmful parasites, mean annual temperature, and variation in annual temperature for the location of 175 hominid crania dating from 1.9 million to 10 thousand years ago. We also (...) included a proxy for population density and two indexes of paleoclimatic variability for the time at which each cranium was discovered. Results revealed independent contributions of population density, variation in paleoclimate, and temperature variation to the prediction of change in hominid cranial capacity (CC). Although the effects of paleoclimatic variability and temperature variation provide support for climatic hypotheses, the proxy for population density predicted more unique variance in CC than all other variables. The pattern suggests multiple pressures drove hominid brain evolution and that the core selective force was social competition. (shrink)

In his new book, eminent psychologist - Daniel Stern, explores the hitherto neglected topic of 'vitality'. Truly a tour de force from a brilliant clinician and scientist, Forms of Vitality is a profound and absorbing book - one that will be essential reading for psychologists, psychotherapists, and those in the creative arts.