Because human cognition is creative and socially situated, knowledge accumulates, diffuses, and gets applied in new contexts, generating cultural analogs of phenomena observed in population genetics such as adaptation and drift. It is therefore commonly thought that elements of culture evolve through natural selection. However, natural selection was proposed to explain how change accumulates despite lack of inheritance of acquired traits, as occurs with template-mediated replication. It cannot accommodate a process with significant retention of acquired or horizontally (e.g. socially) transmitted (...) traits. Moreover, elements of culture cannot be treated as discrete lineages because they constantly interact and influence one another. It is proposed that what evolves through culture is the mind; ideas and artifacts are merely reflections of its current evolved state. Interacting minds transform (in part) through through a non-Darwinian autopoietic process similar to that by which early life evolved, involving not survival of the fittest but actualization of their potential. (shrink)

The Embodied Mind provides a unique, sophisticated treatment of the spontaneous and reflective dimension of human experience.

To investigate the cognitive processes underlying creative inspiration, we tested the extent to which viewing or copying prior examples impacted creative output in art. In Experiment 1, undergraduates made drawings under three conditions: copying an artist's drawing, then producing an original drawing; producing an original drawing without having seen another's work; and copying another artist's work, then reproducing that artist's style independently. We discovered that through copying unfamiliar abstract drawings, participants were able to produce creative drawings qualitatively different from the (...) model drawings. Process analyses suggested that participants' cognitive constraints became relaxed, and new perspectives were formed from copying another's artwork. Experiment 2 showed that exposure to styles of artwork considered unfamiliar facilitated creativity in drawing, while styles considered familiar did not do so. Experiment 3 showed that both copying and thoroughly viewing artwork executed using an unfamiliar style facilitated creativity in drawing, whereas merely thinking about alternative styles of artistic representation did not do so. These experiments revealed that deep encounters with unfamiliar artworks—whether through copying or prolonged observation—change people's cognitive representations of the act of drawing to produce novel artwork. (shrink)

This paper describes a tentative model for how discrete memories transform into an interconnected conceptual network, or worldview, wherein relationships between memories are forged by way of abstractions. The model draws on Kauffman’s theory of how an information-evolving system could emerge through the formation and closure of an autocatalytic network. Here, the information units are not catalytic molecules, but memories and abstractions, and the process that connects them is not catalysis but reminding events (i.e. one memory evokes another). The result (...) is a worldview that both structures, and is structured by, self-triggered streams of thought. (shrink)

An idea is not a replicator because it does not consist of coded self-assembly instructions. It may retain structure as it passes from one individual to another, but does not replicate it. The cultural replicator is not an idea but an associatively-structured network of them that together form an internal model of the world, or worldview. A worldview is a primitive, uncoded replicator, like the autocatalytic sets of polymers widely believed to be the earliest form of life. Primitive replicators generate (...) self-similar structure, but because the process happens in a piecemeal manner, through bottom-up interactions rather than a top-down code, they replicate with low fidelity, and acquired characteristics are inherited. Just as polymers catalyze reactions that generate other polymers, the retrieval of an item from memory can in turn trigger other items, thus cross-linking memories, ideas, and concepts into an integrated conceptual structure. Worldviews evolve idea by idea, largely through social exchange. An idea participates in the evolution of culture by revealing certain aspects of the worldview that generated it, thereby affecting the worldviews of those exposed to it. If an idea influences seemingly unrelated fields this does not mean that separate cultural lineages are contaminating one another, because it is worldviews, not ideas, that are the basic unit of cultural evolution. (shrink)

The result of the second Appalachian conference on neurodynamics, this volume focuses on the problem of "order," its origins, evolution, and future.

In this ground-breaking work, Allan Combs presents a wide-ranging survey of the nature and origins of consciousness research, viewing consciousness as a dynamic and self-organizing process with evolutionary potential. Combs reviews the work of evolutionary theorists such as Pierre Teilhard de Chardin, Ken Wilber, Jean Gebser, and Sri Aurobindo. What emerges is a fascinating study of consciousness that discloses itself as a rich and ongoing act of self-creation, poised at the edge of chaos between past and future.