The need to create art is found in every human society, manifest in many different ways across many different cultures. Is this universal need rooted in our evolutionary past? The Art Instinct reveals that it is, combining evolutionary psychology with aesthetics to shed new light on fascinating questions about the nature of art.

Introduction -- Landscape and longing -- Art and human nature -- What is art? -- But they don't have our concept of art -- Art and natural selection -- The uses of fiction -- Art and human self-domestication -- Intention, forgery, dada : three aesthetic problems -- The contingency of aesthetic values -- Greatness in the arts.

1 Adaptationism is a research strategy that seeks to identify adaptations and the specific selective forces that drove their evolution in past environments. Since the mid-1970s, paleontologist Stephen J. Gould and geneticist Richard Lewontin have been critical of adaptationism, especially as applied toward understanding human behavior and cognition. Perhaps the most prominent criticism they made was that adaptationist explanations were analogous to Rudyard Kipling's Just So Stories. Since storytelling is an inherent part of science, the criticism refers to the acceptance (...) of stories without sufficient empirical evidence. In particular, Gould, Lewontin, and their colleagues argue that adaptationists often use inappropriate evidentiary standards for identifying adaptations and their functions, and that they often fail to consider alternative hypotheses to adaptation. Playing prominently in both of these criticisms are the concepts of constraint, spandrel, and exaptation. In this article we discuss the standards of evidence that could be used to identify adaptations and when and how they may be appropriately used. Moreover, building an empirical case that certain features of a trait are best explained by exaptation, spandrel, or constraint requires demonstrating that the trait's features cannot be better accounted for by adaptationist hypotheses. Thus, we argue that the testing of alternatives requires the consideration, testing, and systematic rejection of adaptationist hypotheses. Where possible, we illustrate our points with examples taken from human behavior and cognition. Key Words: adaptation; ADHD; brain allometry; constraint; epistemology; evolutionary psychology; exaptation; female orgasm ; optimization; special design; waist-hip ratio. Footnotes1 The authors contributed equally to this paper. Order of authorship was determined alphabetically. Correspondence may be addressed to any of the authors. (shrink)

The portrayal of the actions of fictive characters for purposes of entertainment is a familiar phenomenon. Theories that seek to explain why we are attracted to such fictions and whether we learn from them have produced no consensus and no adequate overall account. In this paper, we present the hypothesis that entertainment relies on cognitive adaptations for pretend play. As a simplified model system, we draw on our field study of children's chase play, which is characterized by an elementary form (...) of pretense. The children pretend, at first without consciously representing their pretense, to be chased by predators. The details of this behavior, widespread among mammals, indicate that the biological function of the game may be to train predator-evasion strategies. Chase play, we suggest, evolved in early mammals because it enabled cheap and plentiful resources to be used to train strategies for events that are rare, dangerous, and expensive. More generally, we argue that pretense is used to access spaces of possible actions in order to locate and practice new strategies. It relies on the creation of a simulated scenario and requires sophisticated source monitoring. The simulation is experienced as intrinsically rewarding; boredom is a design feature to motivate the construction of a more appropriate pedagogical situation, while the thrill of play signals optimal learning conditions. The conscious narrative elaboration of chase games involves an elementary form of role play, where we propose a virtual agent is created that tracks and acts on the memories required for coherent action within the simulation. These complex if familiar design features, we suggest, provide a minimalist functional and adaptationist account of the central features of entertainment: that it is fun, that it involves us imaginatively and emotionally, and that it has a tacit pedagogical effect. The model provides a principled and testable account of fiction-based entertainment grounded in evolutionary and cognitive processes. (shrink)