We review some of the main implications of the free-energy principle (FEP) for the study of the self-organization of living systems – and how the FEP can help us to understand (and model) biotic self-organization across the many temporal and spatial scales over which life exists. In order to maintain its integrity as a bounded system, any biological system - from single cells to complex organisms and societies - has to limit the disorder or dispersion (i.e., the long-run entropy) of (...) its constituent states. We review how this can be achieved by living systems that minimize their variational free energy. Variational free energy is an information theoretic construct, originally introduced into theoretical neuroscience and biology to explain perception, action, and learning. It has since been extended to explain the evolution, development, form, and function of entire organisms, providing a principled model of biotic self-organization and autopoiesis. It has provided insights into biological systems across spatiotemporal scales, ranging from microscales (e.g., sub- and multicellular dynamics), to intermediate scales (e.g., groups of interacting animals and culture), through to macroscale phenomena (the evolution of entire species). A crucial corollary of the FEP is that an organism just is (i.e., embodies or entails) an implicit model of its environment. As such, organisms come to embody causal relationships of their ecological niche, which, in turn, is influenced by their resulting behaviors. Crucially, free-energy minimization can be shown to be equivalent to the maximization of Bayesian model evidence. This allows us to cast natural selection in terms of Bayesian model selection, providing a robust theoretical account of how organisms come to match or accommodate the spatiotemporal complexity of their surrounding niche. In line with the theme of this volume; namely, biological complexity and self-organization, this chapter will examine a variational approach to self-organization across multiple dynamical scales. (shrink)

Advancing our understanding of one of the most influential 20th-century philosophers, Robert Vinten brings together an international line up of scholars to consider the relevance of Ludwig Wittgenstein's ideas to the cognitive science of religion. Wittgenstein's claims ranged from the rejection of the idea that psychology is a 'young science' in comparison to physics to challenges to scientistic and intellectualist accounts of religion in the work of past anthropologists. Chapters explore whether these remarks about psychology and religion undermine the frameworks (...) and practices of cognitive scientists of religion. Employing philosophical tools as well as drawing on case studies, contributions not only illuminate psychological experiments, anthropological observations and neurophysical research relevant to understanding religious phenomena, they allow cognitive scientists to either heed or clarify their position in relation to Wittgenstein's objections. By developing and responding to his criticisms, Wittgenstein and the Cognitive Science of Religion offers novel perspectives on his philosophy in relation to religion, human nature, and the mind. Contents: Introduction (Robert Vinten); Ch.1: 'Wittgenstein, Concepts, and Human Nature' (Roger Trigg); Ch.2: 'On Truth, Language, and Objectivity' (Florian Franken Figueiredo); Ch.3 'Pascal Boyer's Miscellany of Homunculi: A Wittgensteinian Critique of Religion Explained' (Robert Vinten); Ch.4 'The Brain Perceives/Infers' (Hans van Eyghen); Ch.5 'The Imaginary Inner Inside Cognitive Science of Religion' (Christopher Hoyt); Ch.6 'Cognitive Theories and Wittgenstein: Looking for Convergence not for Divergence' (Olympia Panagiotidou); Ch. 7 'Wittgenstein, Naturalism, and Interpreting Religious Phenomena' (Thomas Carroll); Ch.8 'Natural Thoughts and Unnatural Oughts: Lessing, Wittgenstein, and Contemporary CSR' (Guy Axtell); Ch.9 'Normative Cognition in Cognitive Science of Religion' (Mark Addis); Ch.10 'Brains as the Source of Being: Mind/Brain Focus and the Western Model of Mind in Dominant Cognitive Science Discourse' (Rita McNamara); Ch.11 'On Religious Practices as Multiscale Active Inference: Certainties Emerging From Recurrent Interactions Within and Across Individuals and Groups' (Inês Hipólito and Casper Hesp). (shrink)

Since the stone age humankind has created masterworks which possess a mysterious quality of solidity and grandeur or monumentality. A Paleolithic Venus and a still life by Cezanne both share this monumentality. Michelangelo likened monumentality to sculptural relief, Braque called monumentality 'space', and Hans Hoffman, himself one of the masters, called monumentality 'pictorial depth.' The masters agreed on the import of monumentality, but none of them left a clear explanation of it. In 1943 Earl Loran published his classic book on (...) Cezanne's pictorial structure but, as I demonstrate, his explanation was misleading. This book provide a clear explanation, as did an earlier book by Robert Casper. This book also traces some history of monumentality with reproductions. It also explains how some painters achieved monumentality and how a student can attempt it. Pictorial space is created in the tension between pairs of opposing planes. Opposing planes pull against each other, each containing the other, paradoxically, within the flat surface of the canvas. Sculpture also can be 'plastic': opposing masses pull against each other, each containing the other and creating tension in the space which lies between them. Painting has other aspects like subject matter, expression, style and technique but pictorial space does not depend on these. Monumentality moves us profoundly and apparently has done so since the Paleolith. Using patients' vignettes, I show that there are profound parallels between the structure of a monumental work of art and the structure of an evolving personality. In Winnicott's words, such a personality has 'depth ... an interior space to put beliefs in ... an inside ... a space where things can be held ... the capacity to accept paradox [to contain opposites] ... room and strength ... and originality and the acceptance of tradition as the basis for invention'. A monumental painting also meets this description. I argue that monumental art provides a visual portrait of an evolving personality just as myth, as Freud and Jung both showed, provides a narrative portrait of an evolving personality. An evolving personality is perhaps humankind's most important creation; an underlying purpose of both myth and art is to help us achieve it. I demonstrate in this book that monumental art represented the evolving personality since at least 35,000 BC. Thus to understand monumentality is to better understand the personality and its history. (shrink)