I identify a controversial hypothesis in evolutionary biology called the plasticity-first hypothesis. I argue that the plasticity-first hypothesis is underdetermined and that the most popular means of studying the plasticity-first hypothesis are insufficient to confirm or disconfirm it. I offer a strategy for overcoming this problem. Researchers need to develop a richer middle range theory of plasticity-first evolution that allows them to identify distinctive empirical traces of the hypothesis. They can then use those traces to discriminate between rival explanations of (...) evolutionary episodes. The best tools for developing such a middle range theory are experimental evolution and formal modelling. (shrink)

Alexander wept at the height of his triumphs because he had no new worlds to conquer. Whitehead declared that all of philosophy had been a footnote to Plato. The Preacher exclaimed (Ecclesiastes 1:10): "Is there any thing whereof it may be said, See, this is new? It hath been already of old time, which was..

Theses on the semiotic study of life as presented here provide a collectively formulated set of statements on what biology needs to be focused on in order to describe life as a process based on semiosis, or sign action. An aim of the biosemiotic approach is to explain how life evolves through all varieties of forms of communication and signification (including cellular adaptive behavior, animal communication, and human intellect) and to provide tools for grounding sign theories. We introduce the concept (...) of semiotic threshold zone and analyze the concepts of semiosis, function, umwelt, and the like as the basic concepts for theoretical biology. (shrink)

The final version of the paper is published pp. 117-166 in: Myrdene Anderson and Floyd Merrell (eds.): On Semiotic Modeling . Mouton de Gruyter, Berlin and New York, 1991.

This work proposes a coevolutionary theory of aesthetics that encompasses both biotic and human arts. Anthropocentric perspectives in aesthetics prevent the recognition of the ontological complexity of the aesthetics of nature, and the aesthetic agency of many non-human organisms. The process of evaluative coevolution is shared by all biotic advertisements. I propose that art consists of a form of communication that coevolves with its own evaluation. Art and art history are population phenomena. I expand Arthur Danto’s Artworld concept to any (...) aesthetic population of producers and evaluators. Current concepts of art cannot exclusively circumscribe the human arts from many forms of non-human biotic art. Without assuming an arbitrarily anthropocentric perspective, any concept of art will need to engage with biodiversity, and either recognize many instances of biotic advertisements as art, or exclude some instances of human art. Coevolutionary aesthetic theory provides a heuristic account of aesthetic change in both human and biotic artworlds, including the coevolutionary origin of aesthetic properties and aesthetic value within artworlds. Restructuring aesthetics, art criticism, and art history without human beings at the organizing centers of these disciplines stimulate new progress in our understanding of art, and the unique human contributions to aesthetics and aesthetic diversity. (shrink)

In the six decades since the publication of Julian Huxley's Evolution: The Modern Synthesis, spectacular empirical advances in the biological sciences have been accompanied by equally significant developments within the core theoretical framework of the discipline. As a result, evolutionary theory today includes concepts and even entire new fields that were not part of the foundational structure of the Modern Synthesis. In this volume, sixteen leading evolutionary biologists and philosophers of science survey the conceptual changes that have emerged since Huxley's (...) landmark publication, not only in such traditional domains of evolutionary biology as quantitative genetics and paleontology but also in such new fields of research as genomics and EvoDevo. Most of the contributors to Evolution—The Extended Synthesis accept many of the tenets of the classical framework but want to relax some of its assumptions and introduce significant conceptual augmentations of the basic Modern Synthesis structure—just as the architects of the Modern Synthesis themselves expanded and modulated previous versions of Darwinism. This continuing revision of a theoretical edifice the foundations of which were laid in the middle of the nineteenth century—the reexamination of old ideas, proposals of new ones, and the synthesis of the most suitable—shows us how science works, and how scientists have painstakingly built a solid set of explanations for what Darwin called the "grandeur" of life. (shrink)

This is a first-hand account of the discussions going on between biologists of different persuasions. On the one hand are the ultradarwinians, who emphasize the supremacy of the gene and natural selection, and on the other, the naturalists, who focus on whole creatures, rather than on genes.

In biosemiotics, living beings are not conceived of as the passive result of anonymous selection pressures acted upon through the course of evolution. Rather, organisms are considered active participants that influence, shape and re-shape other organisms, the surrounding environment, and eventually also their own constitutional and functional integrity. The traditional Darwinian division between natural and sexual selection seems insufficient to encompass the richness of these processes, particularly in light of recent knowledge on communicational processes in the realm of life. Here, (...) we introduce the concepts of semiotic selection and semiotic co-option which in part represent a reinterpretation of classical biological terms and, at the same time, keep explanations sensitive to semiosic processes taking place in living nature. We introduce the term ‘semiotic selection’ to emphasize the fact that actions of different semiotic subjects (selectors) will produce qualitatively different selection pressures. Thereafter, ‘semiotic co-option’ explains how semiotic selection may shape appearance in animals through remodelling existing forms and relations. Considering the event of co-option followed by the process of semiotic selection enables us to describe the evolution of semantic organs. (shrink)