Paleontological evidence suggests that human artefacts with intentional markings might have originated already in the Lower Paleolithic, up to 500.000 years ago and well before the advent of ‘behavioural modernity’. These markings apparently did not serve instrumental, tool-like functions, nor do they appear to be forms of figurative art. Instead, they display abstract geometric patterns that potentially testify to an emerging ability of symbol use. In a variation on Ian Hacking’s speculative account of the possible role of “likeness-making” in the (...) evolution of human cognition and language, this essay explores the central role that the embodied processes of making and the collective practices of using such artefacts might have played in early human cognitive evolution. Two paradigmatic findings of Lower Paleolithic artefacts are discussed as tentative evidence of likenesses acting as material scaffolds in the emergence of symbolic reference-making. They might provide the link between basic abilities of mimesis and imitation and the development of modern language and thought. (shrink)

This paper provides an account of the evolution of the notion of comparatio in the main dialectical works of Valla, Agricola, and Vives. It highlights the elements of continuity and discontinuity and sheds light on the original contributions of Vives’s treatment. In Valla, Agricola and Vives, the notion of comparatio characterizes: a) the locus of the relation to another in the inventio method; b) the cognitive act through which one can grasp the relationships of similarity and difference between concepts; (...) c) the epistemic method for weighing the degree of plausibility of probable arguments. The paper also shows how Vives enhances the role of comparatio within dialectical art. Firstly, he attributes a pre-eminent position to the locus of the comparatio by virtue of the transversality of its application to all the other loci. Secondly, he identifies the explanation of the key concept of syllogism in the act of compering two sentences with a third. Finally, he finds the essence of the disputatio in the method of comparing equally probable contradictory arguments. This can rightly be considered an innovative element of the Vivesian dialectical treatment with respect to the most advanced European humanist movement of the first decades of the sixteenth century. (shrink)

We present a novel methodology for calculating the improvements obtained in successive versions of biomedical ontologies. The theory takes into account changes both in reality itself and in our understanding of this reality. The successful application of the theory rests on the willingness of ontology authors to document changes they make by following a number of simple rules. The theory provides a pathway by which ontology authoring can become a science rather than an art, following principles analogous to those that (...) have fostered the growth of modern evidence-based medicine. Although in this paper we focus on ontologies, the methodology can be generalized to other sorts of terminology-based artifacts, including Electronic Patient Records. (shrink)

Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...) even by the imitation of a person or an act. And although we are usually well aware that it is a simulacrum, not a real situation, it nevertheless sometimes seems as if we ourselves are standing there on the stage or in the painting, so intense and emotional is our response, even though we are just spectators. Aristotle concludes from this that we have intellectual capacities which allow us put ourselves in another’s place and consequently to react to simulated situations as though they are actually happening to us, here and now. In this process, he contends, observation, memory, imagination and emotions are crucial elements. In the past it was not customary to invoke human mental faculties to explain our response to works of art. The Ancient Greeks, after all, knew little about the human body or brain and usually referred to the extended world of the gods in their endeavours to comprehend the ‘inner world’ of human beings. In our time the situation is completely different—such an allusion to the brain no longer surprises us. Whether it is about the mystery of the consciousness, the question of free will or accounts of bizarre psychological aberrations or disorders, we have become accustomed to references to parts of the brain, to images of brain scans, to reports about neural networks and the like. However, because there are so many factors that play a part in our appreciation of works of art we need a complex explanation for it, and it is not enough to look only at certain properties of the brain that are determined by evolution. Those properties are shared by every human being, and so are rather useless in explaining people’s different reactions to the same work of art. Evidently the brains of individuals differ so much that they make it possible for people to respond differently to one and the same artwork. This, of course, raises questions concerning the painted emotions that can be seen in this exhibition. Virtually everyone, after all, is fascinated by such paintings and usually recognizes the emotions they represent. The reactions to these painted emotions are also often similar. This is probably why artworks like this are generally highly valued, then and now, here and elsewhere: from the enigmatically smiling Egyptian Queen Nefertiti and the startled Rembrandt to a seemingly despairing African mask. Aristotle observed that in the theatre players imitate actions that are associated with emotions in a number of ways and that these emotions are shared in a particular fashion by the playwright, the actors and the audience. The audience may even be carried away by these emotions to such an extent that they are in a sense purged of them and can subsequently leave the theatre relieved. Are such emotional reactions perhaps related to the fact that emotions are universal and that brains respond similarly to them? Is this why we can so readily identify painted emotions? May we therefore also assume that the properties of the brain determined by evolution help us to explain these emotions? In answering these questions we shall discuss a number of insights into emotions in psychology and brain science and explore some theories about the possible function of emotions and their expression. (shrink)

Dubreuil (Biol Phil 25:53–73, 2010b , this journal) argues that modern-like cognitive abilities for inhibitory control and goal maintenance most likely evolved in Homo heidelbergensis , much before the evolution of oft-cited modern traits, such as symbolism and art. Dubreuil’s argument proceeds in two steps. First, he identifies two behavioral traits that are supposed to be indicative of the presence of a capacity for inhibition and goal maintenance: cooperative feeding and cooperative breeding. Next, he tries to show that these (...) behavioral traits most likely emerged in Homo heidelbergensis . In this paper, I show that neither of these steps are warranted in light of current scientific evidence, and thus, that the evolutionary background of human executive functions, such as inhibition and goal maintenance, remains obscure. Nonetheless, I suggest that cooperative breeding might mark a crucial step in the evolution of our species: its early emergence in Homo erectus might have favored a social intelligence that was required to get modernity really off the ground in Homo sapiens. (shrink)

In this article the possibilities of expanding the boundaries of the knowledge and tradition of art philosophy in Turkey through the works of names outside the discipline of philosophy are investigated. For this purpose the production of architectural historian Doğan Kuban is discussed. Kuban’s works are evaluated from a philosophical perspective and it is tried to justify that they should be included in the philosophy of art literature. It has been accepted by the researchers that aesthetics/philosophy of art in Turkey (...) started with the effect of westernization after the Tanzimat. The main problems of the few studies that follow the development of aesthetics are that they examine aesthetics, which developed mainly through literary figures and philosophers who had less space than them, until the establishment of the Republic, only through the works of professional philosophers since the Republic, and they exclude the idea of tradition by not establishing a connection between the local thinkers they have examined and ending their development line with İsmail Tunalı. Common problems in research create the impression that the acceptance of aesthetics or philosophy of art as an activity that only the philosopher can do is accepted as a prejudice. However, philosophy of art is not a field specific to philosophers and limiting the development and accumulation of philosophy of art in Turkey to the work of philosophers narrows the scope of discussion. When a philosophical approach to the subject is sought other than philosophers, the opportunity to meet important names in different disciplines and to read them with a new eye increases. When approached from this perspective, Doğan Kuban’s (1926-2021) works deserve to be questioned in terms of art philosophy. It is noteworthy that Kuban’s production which started in the 1950s and lasted for about 70 years presents a wide field of data and interpretation and that he often attempts theory by reminding the absence of criticism and philosophy in our culture. There are also thinkers who refer to Kuban’s interest in philosophy, aesthetics and philosophy of art. However, Kuban’s relevance to philosophy and aesthetics/art philosophy has not been studied extensively. In the article firstly answers will be sought to the questions of what philosophy and philosophy of art are, and then Kuban’s philosophy of art will be revealed according to the criteria to be determined here. Kuban’s philosophy of art will be examined in three stages. His own theoretical approach will be analyzed by reviewing his objections to the tradition of philosophy of art. In the next step, his views on the philosophy of architecture and the philosophy of Turkish art, which he pursued throughout his production as a quest, will be examined. Finally the problems in Kuban’s philosophy of art will be pointed out and its possibilities will be emphasized. Philosophy is the ability to redefine the concepts starting from the most basic/original problems in any field where one doubts the answers, to determine the principles of the field, to answer the sub-questions with principles in line with consistency and validity, and to construct his own explanation model for the structure of the field by associating these answers. In order to make philosophy of art and philosophy of architecture it is necessary to answer the basic questions of the relevant field, to reach conceptual and principled goals, and to present a model of explanation of the structure of the field within a certain method. In the context of the criteria of art philosophy determined here, Kuban’s thoughts can be questioned in terms of philosophy of art. The philosophy of art, the philosophy of architecture and the philosophy of Turkish art, which became evident by the bringing together of different pieces in Kuban’s works, is a continuous and mutually determined effort. The thinker who criticizes the thinking styles and provisions of Western aesthetics, has created his own concept map with redefinitions and conceptualizations. Kuban redefined the concepts in the field of study, based on these he constructed his understanding of art, the philosophy of architecture and tried to create a model of explanation of Turkish art in which he revealed its history, evolution and basic features. Criticizing the views of C. E. Arseven, J. Strzygowski, E. Diez and O. Aslanapa, Kuban tried to define Turkish art in his own way and tried to explain the basic principles of Turkish art through monumental and civil architecture. Even though this model of explanation has deficiencies it offers new research opportunities to history of art and philosophy researchers with the questions it asks, the concepts it highlights and its unresolved aspects. With his philosophical awareness, criticisms of the philosophy of art, the philosophy of architecture and the attempt to construct the theory of Turkish art, Kuban should be included in the subject area of the philosophy of art studies in Turkey. Evaluation of Kuban’s thoughts by including them in the accumulation of art philosophy in our history of thought will both broaden and diversify the horizon of the field of art philosophy and will enable the philosophy of art to be considered in the context of new relationships between individuals and disciplines by following the traces of thinkers from such different fields. (shrink)

The problem of identity in the world of art is relevant from many perspectives. This paper aims at discussing the identity of the work of art. The discussion is built in three steps: the problem of identification of an object as work of art, the problem of the relevant properties of a work of art and the question of the author of the work of art as decisive (or not) for the identification of a work of art. These issues are (...) raised with the evolution of artistic practice and art theory in the last century. The appearing of the “ready-made” destabilized the firm identity of a work of art and now we have to decide what the difference is between a work of art and its perceptually identical pair. Traditionally relevant perceptual features lost their importance in conceptual art, so we have to decide what relevant properties belong, even today, to works of art. Finally, the practice of appropriation in postmodern art challenges the notion of the artist and of the meaning of genuine creation. (shrink)

Cognitive archaeology is a relatively new interdisciplinary science that uses cognitive and psychological models to explain archaeological artifacts like stone tools, figurines, and art. Edited by cognitive archaeologist Karenleigh A. Overmann and psychologist Frederick L. Coolidge, Squeezing Minds From Stones is a collection of essays, from both early pioneers and 'up and coming' newcomers in the field, that addresses a wide variety of cognitive archaeology topics, including the value of experimental archaeology, primate archaeology, the intent of ancient tool makers, and (...) how they may have lived and thought. (shrink)

The role of evolutionary theory at the origin of life is an extensively debated topic. The origin and early development of life is usually separated into a prebiotic phase and a protocellular phase, ultimately leading to the Last Universal Common Ancestor. Most likely, the Last Universal Common Ancestor was subject to Darwinian evolution, but the question remains to what extent Darwinian evolution applies to the prebiotic and protocellular phases. In this review, we reflect on the current status of (...) evolutionary theory in origins of life research by bringing together philosophy of science, evolutionary biology, and empirical research in the origins field. We explore the various ways in which evolutionary theory has been extended beyond biology; we look at how these extensions apply to the prebiotic development of (proto)metabolism; and we investigate how the terminology from evolutionary theory is currently being employed in state-of-the-art origins of life research. In doing so, we identify some of the current obstacles to an evolutionary account of the origins of life, as well as open up new avenues of research. (shrink)

If we conceive of ourselves as animals, it might be accurate to call us visual animals. The visual cortex is much larger in us relative to the size of our brains than in other animals, and large relative to the parts of the cortex responsible for the transmission of signals emanating from the other perceptual transducers. Our ability to recall visual images, recombine them in imagination and enter imaginatively into narratives is linked to this evolved piece of brain architecture. However, (...) what this means within the context of human culture is not so clear. A large visual cortex might not necessarily translate into a heightened susceptibility for fine visual distinctions over auditory or kinetic distinctions, at least not in all cultural contexts. (shrink)

The capacity to engage with art is a human universal present in all cultures and just about every individual human. This indicates that this capacity is evolved. In this Critical Notice of Denis Dutton's The Art Instinct, I discuss various evolutionary scenarios and their consequences. Dutton and I both reject the "spandrel" approach that originates from the work of Gould and Lewontin. Dutton proposes, following work of Geoffrey Miller, that art is sexually selected--that art-production is a sign of a fit (...) genome in males. I argue that while assortative mating may well have had a role in the evolution of "the art instinct", group selection is a better explanation. I also take issue with Dutton's "cluster concept" approach to defining art, and argue that it is a universal and essential characteristic of art that it is appreciated both for what it expresses and for the way that it expresses. It thus requires a reflexive capacity that is not operative in the appreciation of sport spectacles and pornography. (shrink)

It is a matter of fact that Europe is facing more and more crucial challenges regarding health and social care due to the demographic change and the current economic context. The recent COVID-19 pandemic has stressed this situation even further, thus highlighting the need for taking action. Active and Assisted Living technologies come as a viable approach to help facing these challenges, thanks to the high potential they have in enabling remote care and support. Broadly speaking, AAL can be referred (...) to as the use of innovative and advanced Information and Communication Technologies to create supportive, inclusive and empowering applications and environments that enable older, impaired or frail people to live independently and stay active longer in society. AAL capitalizes on the growing pervasiveness and effectiveness of sensing and computing facilities to supply the persons in need with smart assistance, by responding to their necessities of autonomy, independence, comfort, security and safety. The application scenarios addressed by AAL are complex, due to the inherent heterogeneity of the end-user population, their living arrangements, and their physical conditions or impairment. Despite aiming at diverse goals, AAL systems should share some common characteristics. They are designed to provide support in daily life in an invisible, unobtrusive and user-friendly manner. Moreover, they are conceived to be intelligent, to be able to learn and adapt to the requirements and requests of the assisted people, and to synchronise with their specific needs. Nevertheless, to ensure the uptake of AAL in society, potential users must be willing to use AAL applications and to integrate them in their daily environments and lives. In this respect, video- and audio-based AAL applications have several advantages, in terms of unobtrusiveness and information richness. Indeed, cameras and microphones are far less obtrusive with respect to the hindrance other wearable sensors may cause to one’s activities. In addition, a single camera placed in a room can record most of the activities performed in the room, thus replacing many other non-visual sensors. Currently, video-based applications are effective in recognising and monitoring the activities, the movements, and the overall conditions of the assisted individuals as well as to assess their vital parameters. Similarly, audio sensors have the potential to become one of the most important modalities for interaction with AAL systems, as they can have a large range of sensing, do not require physical presence at a particular location and are physically intangible. Moreover, relevant information about individuals’ activities and health status can derive from processing audio signals. Nevertheless, as the other side of the coin, cameras and microphones are often perceived as the most intrusive technologies from the viewpoint of the privacy of the monitored individuals. This is due to the richness of the information these technologies convey and the intimate setting where they may be deployed. Solutions able to ensure privacy preservation by context and by design, as well as to ensure high legal and ethical standards are in high demand. After the review of the current state of play and the discussion in GoodBrother, we may claim that the first solutions in this direction are starting to appear in the literature. A multidisciplinary debate among experts and stakeholders is paving the way towards AAL ensuring ergonomics, usability, acceptance and privacy preservation. The DIANA, PAAL, and VisuAAL projects are examples of this fresh approach. This report provides the reader with a review of the most recent advances in audio- and video-based monitoring technologies for AAL. It has been drafted as a collective effort of WG3 to supply an introduction to AAL, its evolution over time and its main functional and technological underpinnings. In this respect, the report contributes to the field with the outline of a new generation of ethical-aware AAL technologies and a proposal for a novel comprehensive taxonomy of AAL systems and applications. Moreover, the report allows non-technical readers to gather an overview of the main components of an AAL system and how these function and interact with the end-users. The report illustrates the state of the art of the most successful AAL applications and functions based on audio and video data, namely lifelogging and self-monitoring, remote monitoring of vital signs, emotional state recognition, food intake monitoring, activity and behaviour recognition, activity and personal assistance, gesture recognition, fall detection and prevention, mobility assessment and frailty recognition, and cognitive and motor rehabilitation. For these application scenarios, the report illustrates the state of play in terms of scientific advances, available products and research project. The open challenges are also highlighted. The report ends with an overview of the challenges, the hindrances and the opportunities posed by the uptake in real world settings of AAL technologies. In this respect, the report illustrates the current procedural and technological approaches to cope with acceptability, usability and trust in the AAL technology, by surveying strategies and approaches to co-design, to privacy preservation in video and audio data, to transparency and explainability in data processing, and to data transmission and communication. User acceptance and ethical considerations are also debated. Finally, the potentials coming from the silver economy are overviewed. (shrink)

It is modernly debated whether application of the free will has potential to cause harm to nature. Power possessed to the discourse, sensory/perceptual, physical influences on life experience by the slow moving machinery of change is a viral element in the problems of civilization; failed resolution of historical paradox involving mind and matter is a recurring source of problems. Reference is taken from the writing of Euclid in which a oneness of nature as an indivisible point of thought is made (...) prerequisite in criteria of interpretation to demonstrate that contemporary scientific methodologies alternately ensue from the point of empirically centered induction. A qualification for conceptualizations is proposed that involves a physically describable form bound to energy in addition to contemporary notions of energy bound to form and a visually based mathematical-physical form is elaborated and discussed with respect to biological and natural processes. (shrink)

The purpose of this paper is to present and describe a new method for studying pre-speech language. The suggested approach allows correlate epistemology of linguistics to the ideological tradition of other scientific disciplines. Method is based on three linguistic categories – nouns, verbs, and interjections in their motor and expressive qualities – and their relation to the three basic forms of art – graphics (visual art), movement (dance), and sound (music). The study considers this correlation as caused by the nature (...) of the human receptor system. This method explains the nature of art and the phenomenon of aesthetics and allows for the chronological arrangement of important cultural processes; it identifies the fundamental unanimity of the semiotic nature of language and art. (shrink)

An artwork in one culture and form, say European classical music, cannot be evaluated in the context of another, say Hindustani music. While a person educated in the traditions of European music can rationally evaluate and discuss her response to a string quartet by Beethoven, her response to music in a foreign culture is merely subjective. She might "like" the latter, but her response is merely subjective. In this paper, I discuss the role of artforms: why response can be "objectively" (...) discussed within artforms, but is nonetheless subjective across them. My discussion falls into two parts. First, I offer a psychological account of aesthetic response to art: cultural learning stabilizes this response across individuals who are educated in an artform. Second, I offer a cultural-evolutionary account of the diversity of artforms, adapting Darwin's Principle of the Divergence of Character to explain the multiplicity of art forms. (shrink)

This paper proposes that existing computational modeling research programs may be combined into platforms for the information of public policy. The main idea is that computational models at select levels of organization may be integrated in natural terms describing biological cognition, thereby normalizing a platform for predictive simulations able to account for both human and environmental costs associated with different action plans and institutional arrangements over short and long time spans while minimizing computational requirements. Building from established research programs, the (...) proposal aims to take advantage of current momentum in the direction of the integration of the cognitive with social and natural sciences, reduce start-up costs and increase speed of development. These are all important upshots given rising unease over the potential for AI and related technologies to shape the world going forward. (shrink)

“Applying the Heisenberg Uncertainty Principle to 21st Century Art” was delivered to the 2009 Congress of the International Association of Art Critics (AICA) in Dublin as a guide to critical thinking through a paradigm shift. This new paper uncovers a new critical theory in the form of a formula that has been successfully applied to a universal appraisal of arts across all boundaries, whether they be gender, discipline or culture. The configuration predicted by Pauli as arising from under the collapsed (...) quantum wave is sourced in an ancient icon: the hieros gamos. As her functional role as newspaper critic shifted to a more esoteric passage as performance artist/curator/blogger, the author spent 14 years theorizing; and another 14 years applying a new critical theory to contemporary art. Her (R)evolution series for the Huffington Post places the containment of the hieros gamos at the forefront of contemporary art practice. The goal is the embodiment of Jean Gebser’s 360-degree aperspectival awareness, whereas the shadow is contacted and absorbed into the very body of art. This paper will reveal the strategy for determining holistic art forms containing the 21st century icon that Pauli understood would arise from under the collapsed quantum wave. (shrink)

Freedom is generated in at least two distinct ways: as the ability to avoid perceived dangers and pursue perceived goods, and even to pursue complicated plans in those directions, freedom evolves. But as a social and political matter, freedom seems more subject to human will. The best social institutions -- the kind that serve to encourage or constrain freedom of choice -- also appear to be evolutionary products in some sense. Can there be too much freedom? Of course there can. (...) No constraint at all would guarantee personal and social disaster. Individual activity can pose serious dangers to nature and to culture. But how may we ensure that the constraints we may chose to impose our ones that are good for us? What we need to do is to find, as consistently as possible with the necessity that human individuals be able to use their local perception of local opportunity in pursuit of their own interests, a framework that emerges out of human practice; we should take advantage of lessons learned about evolution: those strategies work that are in tune with the forces at work within the niche. In our attempts to solve social problems, we can't afford to take our eyes off the characteristics of the individuals that make up the social world we hope to change. And in my view, here as elsewhere, the smallest intervention is likely to be the best. (shrink)

A summarizing English version on “Theory of Innovation and the Evolution of General Human Capabilities, such as Cognition-based Empathy” is included in the download. Den biologisch modernen Menschentyp charakterisieren sehr allgemeine Fähigkeiten, wie begriffliche Sprache, strategisches Denken und kognitionsgestützte Empathie. Neurobiologisch kann Empathiefähigkeit als eine Verbindung von Repräsentationen von Mitmenschen mit dem je eigenen Gefühlszentren im Gehirn angesehen werden. In Grundzügen ist sie vor vielleicht 100 000 Jahren als Folge von Mutationen der Erbsubstanz DNA entstanden. Für solche genetische Innovationen (...) spielten wohl nicht nur lokale Veränderungen des Genoms eine Rolle, sondern auch seltene größere Umordnungen, besonders neue Zufallskombinationen von Regelbereichen in der DNA. Dies könnte in seltenen Einzelfällen eine Art Weichenstellung für eine neue Richtung der Evolution bewirken, die dann in vielen kleinen Schritten ausgeprägt wurde. Interessant ist die Analogie solcher biologischer mit technischer Innovation: Auch in ihr, Beispiel Dampfschiff, spielt die (seltene) Neukombination von Grundfähigkeiten eine Initialrolle für die Ausbreitung einer Innovation. (shrink)

Tracing the leading role of emotions in the evolution of the mind, a philosopher and a psychologist pair up to reveal how thought and culture owe less to our faculty for reason than to our capacity to feel. Many accounts of the human mind concentrate on the brain’s computational power. Yet, in evolutionary terms, rational cognition emerged only the day before yesterday. For nearly 200 million years before humans developed a capacity to reason, the emotional centers of the brain (...) were hard at work. If we want to properly understand the evolution of the mind, we must explore this more primal capability that we share with other animals: the power to feel. Emotions saturate every thought and perception with the weight of feelings. The Emotional Mind reveals that many of the distinctive behaviors and social structures of our species are best discerned through the lens of emotions. Even the roots of so much that makes us uniquely human—art, mythology, religion—can be traced to feelings of caring, longing, fear, loneliness, awe, rage, lust, playfulness, and more. From prehistoric cave art to the songs of Hank Williams, Stephen T. Asma and Rami Gabriel explore how the evolution of the emotional mind stimulated our species’ cultural expression in all its rich variety. Bringing together insights and data from philosophy, biology, anthropology, neuroscience, and psychology, The Emotional Mind offers a new paradigm for understanding what it is that makes us so unique. (shrink)

Die Beziehung der Entwicklung des Lebens im Weltall - von den einfachsten Formen bis zu Leben mit Geist und Bewusstsein – zu der Physik, wie wir sie aus der unbelebten Natur kennen, ist Thema dieses Essays. Ist die Entstehung des Lebens Zufall, ist es Folge einer physikalischen Logik, die noch zu entdecken ist, oder ist „Lebensfreundlichkeit“ ein eigenes Prinzip des Naturgeschehens, das zum Beispiel offene Naturkonstanten der physikalischen Gesetze festlegt, zu denen die geheimnisvollen Grossen Zahlen der Kosmologie gehören – „The (...) Lore of Large Numbers…“? Wissenschaftlich bleibt diese Frage nicht eindeutig zu klären; intuitiv wird das „Prinzip lebensfreundlich“ der menschlichen Evolution wohl am ehesten gerecht. Dabei ist „lebensfreundlich“ in diesem Artikel nicht psychologisch im Sinne menschlicher Beziehungen gemeint, sondern eine Art Kurzbezeichnung für eine Physik, die im Kosmos irgendwann und irgendwo Leben, auch menschliches Leben mit Geist und Bewusstsein ermöglicht. Der Artikel ergänzt auch Texte des Autors über Physik und Bewusstsein, um physikalische und anthropologische Aspekte der Kosmologie (unter philpapers im Volltext). (shrink)

The exploration of laughter’s philosophical significance within the realm of performing arts, particularly the French classical theatre of the seventeenth century, reveals a profound connection to the comedic genre. This literary form, characterized by its gentle yet satirical nature, aims to critique and amend the behavioral and societal flaws of individuals. It often portrays a protagonist whose moral attributes and actions defy societal norms, depicted on stage in an exaggerated manner, amplified and interwoven with theatrical techniques such as verbal wit, (...) comedic behavior, and the humorous repetition of scenarios. Through this lens, comedic dialogue not only elicits laughter but also conveys an ethical message, emerging from the critique of society’s distasteful customs and pervasive misconceptions. The comic and humorous approach offers a fresh, conciliatory perspective on life, contrasting the somber, oppressive reality presented in tragedy, thus serving as a potent vehicle for engaging diverse social groups. This study briefly touches upon the history and evolution of the laughter element, or the comedic genre, within French literature of the sixteenth and seventeenth centuries. It delves into the critical issue and examines the techniques and performances that induce laughter in The Miser, extending the discussion to encompass the philosophy of laughter. (shrink)

Humans experience a profound and indescribable emotion when they unearth artifacts from ancient times. Scientific disciplines like paleontology and archaeology reflect our curiosity and desire to understand the natural world’s past and evolutionary history. Physics also invests significant effort in exploring the origin and evolution of the universe. In social life, the study field of humanities also has journals about art history, such as the Art History or Journal of Art History. Through our shared thoughts and efforts to restore (...) humanities for the cause of ecological and biological conservation, we have discovered a picture of a kingfisher taken nearly a century ago by A. F. Skutch in The Condor. Obtaining such a vivid, genuine, and emotionally evocative image was no easy task. This image has the power to stir the thoughts and awaken the conscience of the viewer, emphasizing the importance of a vibrant environment. (shrink)

Stephen Davies taught philosophy at the University of Auckland, Auckland, New Zealand. His research specialty is the philosophy of art. He is a former President of the American Society for Aesthetics. His books include Definitions of Art (Cornell UP, 1991), Musical Meaning and Expression (Cornell UP, 1994), Musical Works and Performances (Clarendon, 2001), Themes in the Philosophy of Music (OUP, 2003), Philosophical Perspectives on Art (OUP, 2007), Musical Understandings and Other Essays on the Philosophy of Music (OUP, 2011), The Artful (...) Species: Aesthetics, Art, and Evolution (OUP, 2012), The Philosophy of Art (Wiley-Blackwell, 2016 second ed.), and Adornment: What Self-decorations Tells Us about Who We Are, (Bloomsbury Academic, 2020). (shrink)

The term "creative aging," in the broadest sense, describes an aging policy idea that focuses on highlighting the creativity of older adults in order to prepare individuals and communities to manage old age. Programs focus on the evolution of creativity over the lifespan and aim to provide meaningful participatory engagement, especially through the arts.

Purpose (metatask) of the present work is to attempt to give a glance at the problem of existential and anthropo- logical risk caused by the contemporary man-made civilization from the perspective of comparison and confronta- tion of aesthetics, the substrate of which is emotional and metaphorical interpretation of individual subjective values and politics feeding by objectively rational interests of social groups. In both cases there is some semantic gap pre- sent between the represented social reality and its representation in perception (...) of works of art and in the political doctrines as well. Methodology of the research is evolutionary anthropological comparativistics. Originality of the conducted analysis comes to the following: As the antithesis to biological and social reductionism in interpretation of the phenomenon of bio-power it is proposed a co-evolutionary semantic model in accordance with which the de- scribed semantic gap is of the substantial nature related to the complex module organization of a consistent and adaptive human strategy consisting of three associated but independently functional modules (genetic, cultural and techno-rational). Evolutionary trajectory of all anthropogenesis components including civilization cultural and so- cial-political evolution is identified by the proportion between two macro variables – evolutionary effectiveness and evolutionary stability (sameness), i.e. preservation in the context of consequential transformations of some invari- ants of Homo sapiens species specificity organization. It should be noted that inasmuch as in respect to human, some modules of the evolutionary (adaptive) strategy assume self-reflection attributes, it would be more correctly to state about evolutionary correctness, i.e. correspondence to some perfection. As a result, the future of human nature de- pends not only on the rationalist principles of ethics of Homo species (the archaism of Jurgen Habermas), but also on the holistic and emotionally aesthetic image of «Self». In conclusion it should be noted that there is a causal link between the development of High Hume (NBIC) technologies and the totality of the trend in the anthropological phenomenon of bio-power that permeates all the available human existence in modern civilization. As a result, there is a transformation of a contemporary social (man-made) risk in the evolutionary civilization risk. (shrink)

The major stages of development of cosmic pedagogy have been researched. Based on the achievements of the modern neurosciences as well as of psychology, cosmology, and philosophy, the authors provide their reasoning for the cosmic education and its outlooks for the educational systems of the world. Through the studies of how important human mind is for the Earth and the cosmos and by researching the evolution of human mind within the structure of the Universe, the authors create a more (...) advanced scientific and philosophic basis for the cosmic education where the subject is a comprehensive process of formation and directed progress of both an individual mind and a conglomerate of minds called the "psychospace". The cosmic education researches the permanent progress of the intelligent matter of the Earth. The purpose of the cosmic education has been determined as formation of a planetary and cosmic personality. According to the authors, a planetary and cosmic personality is a harmony of mind, soul, and body, and such harmony is directed to usethe internal creative potential of mind to the benefit of the intelligent matter of the entire Earthand the cosmos. The properties of such a planetary and cosmic personality are being improved continuously; they are a sample (the ideal) of the cosmic pedagogy and the image of a human being of the future. Through the usage of the entire potential and art of upbringing and educating, the cosmic pedagogy is called to embody the major properties of the image of a human being of the future in the new generations of minds and to form a planetary and cosmic personalitycapable of self-actualization to the benefit of the permanent progress of the intelligent matter. (shrink)

In seinem Buch "Free Agents" stellt der Neurowissenschaftler und Evolutionsgenetiker Kevin Mitchell ein evolutionäres Erklärungsmodell für den freien Willen vor. Aus philosophischer Sicht relevant ist das Buch vor allem, weil es ein zentrales Credo der aktuellen Freiheits-Debatte in Frage stellt, nämlich die Auffassung, ein naturwissenschaftlich vertretbares Freiheitsverständnis müsse mit dem Determinismus im Einklang stehen. Mitchell geht auf Distanz zum Kompatibilismus und nimmt mit naturwissenschaftlicher Argumentation für die libertarische Gegenposition Partei (auch wenn er selbst diesen Ausdruck nicht verwendet). Sein Buch ist (...) zweifellos das bisher umfassendste Werk dieser Art, und seine durchwegs nachvollziehbar aufgebaute Argumentation wird mit viel empirischer Evidenz aus Physik, Biochemie und Evolutionsbiologie unterlegt. Das zentrale Element seines Ansatzes ist die Qualifizierung lebender Organismen als Akteure. Alle Lebewesen sind gemäß Mitchell "autonomous entities, imbued with purpose and able to act on their own terms" (19). Rund die Hälfte seines Buches widmet Mitchell dem Thema, wie sich die Fähigkeiten der Lebewesen als Akteure im Laufe der Evolutionsgeschichte entwickelt und ausdifferenziert haben. Er zeigt Schritt für Schritt auf, wie aus der Sensorik und Bewegungssteuerung niedriger Organismen immer raffiniertere Formen der Verhaltenssteuerung mithilfe von Nervensystemen erwuchsen. Auf dieser Basis kommt er dann etwa in der Mitte seines Buches eingehend auf den Determinismus zu sprechen, und er weist diesen mit überzeugenden Argumenten einschließlich seiner kompatibilistischen Spielart zurück, und mit ihm zusammen gleich auch den Reduktionismus. Unbestimmtheit und Naturgesetzlichkeit schließen sich gemäß Mitchell keineswegs aus, und entscheidend ist für ihn, dass in komplexen Systemen die physikalischen Elementarvorgänge die Dynamik und Entwicklung des Gesamtsystems nicht vollständig determinieren: Sie sind nicht "causally comprehensive" (280). Unbestimmtheit scheint damit ein Element der Natur zu sein, welches Gesetzmäßigkeiten höherer Ordnung überhaupt erst möglich macht. Dies gilt sowohl für den auf Variation und Selektion beruhenden Evolutionsprozess als Ganzes, als auch für die durch ihn entstandene Fähigkeit tierischer Lebewesen zur zielgerichteten Steuerung ihres Verhaltens. Freies Handeln wird so gesehen zur am höchsten entwickelten Form der Fähigkeit, sich die wegen der Unbestimmtheit in der Natur vorhandenen Spielräume zu Nutze zu machen (harnessing indeterminacy). Die oft als naturgesetzlich unmöglich gebrandmarkte Vorstellung einer top-down wirkenden Akteurkausalität (agent causation) wird in Mitchells systembasiertem Erklärungsansatz zum naturwissenschaftlich erklärbaren Phänomen, und das gleiche gilt dementsprechend auch für die Freiheit nach libertarischem Verständnis. Wichtig zu erwähnen ist schließlich noch, dass Mitchell darunter keineswegs eine unbedingte Freiheit versteht, nicht "some nebulous, spooky, mystical property granted to us by the gods", sondern schlicht und einfach "an evolved biological function that depends on the proper functioning of a distributed set of neural resources" (282), welche uns die Fähigkeit zur bewussten und rationalen Kontrolle über unsere Handlungen verleiht - nicht mehr, aber auch nicht weniger. Bis jetzt hat Mitchells Buch vor allem im Leserkreis naturwissenschaftlicher Sachbuchliteratur Anklang gefunden. Darüber hinaus ist es aber schlichtweg allen zu empfehlen, die am Thema Willensfreiheit interessiert sind, und fast noch mehr denjenigen, die von diesem Thema genug haben in der Meinung, dazu ließe sich ohnehin nichts Neues mehr sagen. Vor allem ist aber zu hoffen, dass das Buch auch seinen Weg in das philosophische Seminar an Hochschulen findet, wo es den Schriften Daniel Dennetts, des wohl berühmtesten Kompatibilisten, gegenübergestellt werden sollte, denn der Vergleich ist interessant, weil dessen evolutionsbasierter Naturalismus abgesehen von den fundamentalen Differenzen bezüglich Determinismus und Reduktionismus demjenigen Mitchells gar nicht so unähnlich ist. (shrink)

Why is it that we respond emotionally to plays, movies, and novels and feel moved by characters and situations that we know do not exist? This question, which constitutes the kernel of the debate on »the paradox of fiction«, speaks to the perennial themes of philosophy, and remains of interest to this day. But does this question entail a paradox? A significant group of analytic philosophers have indeed thought so. Since the publication of Colin Radford's celebrated paper »How Can We (...) Be Moved by the Fate of Anna Karenina?« (1975), the number of proposals to solve, explain, reformulate, dismiss or even revitalize this apparent paradox has continued to proliferate. In line with recent developments in the philosophy of emotion, in this paper I will argue against the sustainability of the paradox, claiming that the only reasonable way to continue our discussions about it consists in using it as a heuristic tool to shed light on problems regarding our involvement with fiction. Against this background, I will then focus on one of the problems related to how our emotional responses to fiction contribute to our appreciation of it. The paper is divided into three main sections. The first section shows the parallel evolution of the paradox of fiction and the analytic philosophy of emotion. Here I claim that, although the paradox is epistemically flawed, since one of its premises is rooted in a limited view on the emotions typical of early cognitiv-ism, the discussions it provokes are still epistemically useful. As Robert Stecker (2011, 295), among others, has pointed out, the paradox was formulated during the heyday of cognitive theories of the emotions in which emotion necessarily requires belief. Today, however, only few authors would endorse this premise. If emotion does not always require belief (as the majority of authors in the contemporary debate admit), let alone belief about the existence of the object towards which it is directed, then there is no reason to speak of a paradox. From this first conclusion, however, it does not follow that the paradox is completely without use from the epistemic point of view. A glimpse at the topics touched on during the discussions about how to solve, reformulate, or negate the paradox reveals their value in shedding light on the interrelation between emotion and fiction. The second section elaborates a phenomenologically inspired cognitive account of the emotions by focusing on their cognitive bases, their influence on Emotion in the Appreciation of Fiction 205 cognitions, and their cognitive function. In this model, emotions are responsible for indicating values, for showing what matters to us, and for being appropriate to their objects. My claim is that this view applies not only to reality, but also to our involvement with fiction. In the final section I draw on this account to focus on one kind of appreciation of fiction which necessarily requires our emotional involvement. Following an idea put forward by Susan Feagin (1996, 1), I employ the concept of »appre-ciation« to refer to a set of abilities exercised with the aim of extracting value from the work. There is a long tradition in aesthetics that condemns any focus on the emotions in the appreciation of art and fiction, and defends the necessity of aesthetic appreciation without emotional influence. To refer to this negative attitude towards the emotions, I will borrow an expression coined by Susan Feagin (2013, 636), who refers to »the intellectualized view of appreciation«. Against this widespread view, I will argue that some aspects of the fiction can only be appreciated with the help of our emotions. The cognitive approach developed in the previous section can explain how the emotions might in fact play a significant role in the appreciation of art and fiction. Attention will be paid to three activities involved in appreciation, for all of which emotion is crucial: processing relevant information about the fictional world, understanding aspects of it, and becoming acquainted with the values it presents. My aim here is to argue that there are particular aspects of the fictional world that can only be appreciated if recipients have the appropriate emotions. (shrink)

Darwinian evolutionary theory has two key terms, variations and biological selection, which finally lead to survival of the fittest variant. With the rise of molecular genetics, variations were explained as results of error replications out of the genetic master templates. For more than half a century, it has been accepted that new genetic information is mostly derived from random error-based events. But the error replication narrative has problems explaining the sudden emergence of new species, new phenotypic traits, and genome innovations (...) as a sudden single event. Meanwhile, it is recognized that errors cannot explain the evolution of genetic information, genetic novelty, and complexity. Now, empirical evidence establishes the crucial role of non-random genetic content editors, such as viruses, diversity generating retroelements, and other RNA networks, to produce new genetic information, complex regulatory control, inheritance vectors, genetic identity, immunity, new sequence space, evolution of complex organisms, and evolutionary transitions. (shrink)

Guided by neuroscience, animal behavior, evolution, philosophy, and psychology, Asma burrows deep into the human psyche to look right at the enigmatic but powerful engine that is our improvisational creativity—the source, he argues, of our remarkable imaginational capacity. How is it, he asks, that a story can evoke a whole world inside of us? How are we able to rehearse a skill, a speech, or even an entire scenario simply by thinking about it? How does creativity go beyond experience (...) and help us make something completely new? And how does our moral imagination help us sculpt a better society? As he shows, we live in a world that is only partly happening in reality. Huge swaths of our cognitive experiences are made up by “what-ifs,” “almosts,” and “maybes,” an imagined terrain that churns out one of the most overlooked but necessary resources for our flourishing: possibilities. Considering everything from how imagination works in our physical bodies to the ways we make images, from the mechanics of language and our ability to tell stories to the creative composition of self-consciousness, Asma expands our personal and day-to-day forms of imagination into a grand scale: as one of the decisive evolutionary forces that has guided human development from the Paleolithic era to today. The result is an inspiring look at the rich relationships among improvisation, imagination, and culture, and a privileged glimpse into the unique nature of our evolved minds. (shrink)

Despite the widespread use of the notion of moral intuition, its psychological features remain a matter of debate and it is unclear why the capacity to experience moral intuitions evolved in humans. We first survey standard accounts of moral intuition, pointing out their interesting and problematic aspects. Drawing lessons from this analysis, we propose a novel account of moral intuitions which captures their phenomenological, mechanistic, and evolutionary features. Moral intuitions are composed of two elements: an evaluative mental state and a (...) feeling of rightness (FOR). We illustrate the phenomenology of the FOR with examples of non-moral and moral cases, and provide a biological and mechanistic account: the emergence of human reasoning capacities created a need for the co-evolution of a psychological system producing the feeling of rightness (the FORs). This system is triggered when we experience conflicting evaluations. The FORs renders evaluations resulting from rational deliberation less compelling than the evaluations produced by simple evolved systems. It thus facilitates optimal decision-making, preventing excessive interference by rational deliberation. Our account sheds light on why moral intuitions are so frequently experienced and why they are so compelling and resistant to argument. In addition, the account fuels interesting speculations about common metaethical intuitions. (shrink)

This paper offers a more comprehensive and accurate picture of Edmund Husserl’s semiotics. I not only clarify, as many have already done, Husserl’s theory of signs from the 1901 Logical Investigations, but also examine how he transforms that element of his philosophy in the 1913/14 Revisions to the Sixth Logical Investigation. Specifically, the paper examines the evolution of two central tenets of Husserl’s semiotics. I first look at how he modifies his classification of signs. I disclose why he revised (...) his 1901 distinction between indicators and expressions, instead claiming in 1913/14 that the divisions should be drawn between indicators, signals, and categorial signs. Second, I elucidate why Husserl overturned his conclusion from the Investigations, that signs execute their signitive operations in three steps, because he recognizes that categorial signs and their meant object are experienced all at once. By exploring the transformation of these two tenets of Husserl’s semiotics, we will see that he conceived of the First Investigation only as a starting or jumping off point for future analyses of signitive experience, rather than as his final account. This analysis will further reveal novel insights about Husserl’s understanding of intersubjectivity, passivity, and temporality. (shrink)

Purpose of the present work is to attempt to give a glance at the problem of existential and anthropological risk caused by the contemporary man-made civilization from the perspective of comparison and confrontation of aesthetics, the substrate of which is emotional and metaphorical interpretation of individual subjective values and politics feeding by objectively rational interests of social groups. In both cases there is some semantic gap present between the represented social reality and its representation in perception of works of art (...) and in the political doctrines as well. Methodology of the research is evolutionary anthropologicalcomparativistics. Originality of the conducted analysis comes to the following: As the antithesis to biological and social reductionism in interpretation of the phenomenon of bio-power it is proposed a co-evolutionary semantic model in accordance with which the described semantic gap is of the substantial nature related to the complex module organization of a consistent and adaptive human strategy consisting of three associated but independently functional modules. Evolutionary trajectory of all anthropogenesis components including civilization cultural and social-political evolution is identified by the proportion between two macro variables – evolutionary effectiveness and evolutionary stability, i.e. preservation in the context of consequential transformations of some invariants of Homo sapiens species specificity organization. It should be noted that inasmuch as in respect to human, some modules of the evolutionary strategy assume self-reflection attributes, it would be more correctly to state about evolutionary correctness, i.e. correspondence to some perfection. As a result, the future of human nature depends not only on the rationalist principles of ethics of Homo species, but also on the holistic and emotionally aesthetic image of «Self». In conclusion it should be noted that there is a causal link between the development of High Hume technologies and the totality of the trend in the anthropological phenomenon of bio-power that permeates all the available human existence in modern civilization. As a result, there is a transformation of a contemporary social risk in the evolutionary civilization risk. (shrink)

In this article, I review textual evidence demonstrating that James and Dewey incorporated Kant’s ideas, even while criticizing him. I specifically argue that the pragmatic evolution of the Kantian a priori carried out by James and Dewey is a transition from the mental to the bodily. I further argue that the parallels between pragmatists and Kant, along with the transition from the mental to bodily, relate to scientific contexts in which all developed their outlooks. Though historically grounded, my ultimate (...) goal is to show that pragmatism and by extension Kantianism mesh with and indeed contribute to cutting edge ideas in fields ranging from neuropathology to robotics and AI to cognitive science, whether in the form of Gibsonian theory or enactivism. (shrink)

The concept of adaptation is employed in many fields such as biology, psychology, cognitive sciences, robotics, social sciences, even literacy and art,1 and its meaning varies quite evidently according to the particular research context in which it is applied. We expect to find a particularly rich catalogue of meanings within evolutionary biology, where adaptation has held a particularly central role since Darwin’s The Origin of Species (1859) throughout important epistemological shifts and scientific findings that enriched and diversified the concept. Accordingly, (...) a conceptual taxonomy of adaptation in evolutionary biology may help to disambiguate it. Interdisciplinary researches focused on adaptation would benefit from such a result. In the present work we recognize and define seven different meanings of adaptation: (1) individual fitness; (2) adaptation of a population; (3) adaptation as the process of natural selection; (4) adaptive traits; (5) molecular adaptation; (6) adaptation as structural tinkering; (7) plasticity. For convenience here, we refer to them as W-, P-, NS-, T-, M-, S- and PL-ADAPTATION. We present the seven meanings in some detail, hinting at their respective origins and conceptual developments in the history of evolutionary thought (references are offered for further deepening). However, it is important to point out that evolution researchers seldom if ever refer to a single meaning purified from the others. This applies also to the authors we cite as representatives of one of the seven meanings. In Discussion and Conclusion draw from our work some future perspectives for adaptation within evolutionary biology. (shrink)

For decades Darwinian processes were framed in the form of the Lewontin conditions: reproduction, variation and differential reproductive success were taken to be sufficient and necessary. Since Buss and the work of Maynard Smith and Szathmary biologists were eager to explain the major transitions from individuals to groups forming new individuals subject to Darwinian mechanisms themselves. Explanations that seek to explain the emergence of a new level of selection, however, cannot employ properties that would already have to exist on that (...) level for selection to take place. Recently, Hammerschmidt et al. provided a ‘bottom-up’ experiment corroborating much of the theoretical work Paul Rainey has done since 2003 on how cheats can play an important role in the emergence of new Darwinian individuals on a multicellular level. The aims of this paper are twofold. First, I argue for a conceptual shift in perspective from seeing cheats as a ‘problem’ that needs to be solved for multi-cellularity to evolve to the very ‘key’ for the evolution of multicellularity. Secondly, I illustrate the consequences of this shift for both theoretical and experimental work, arguing for a more prominent role of ecology and the multi-level selection framework within the debate then they currently occupy. (shrink)

The literary genesis of Einbahnstraße by Walter Benjamin represents a very special case of the use of the procedures of surrealism in the philosophical-literary production of the author. The process of evolution of thinking that ended up in the writing of this piece is unveiled throughout the present analysis. This is a sign of both waiver and restart; the opening for a new productive dimension in the career of one of the most important —and misunderstood— philosophers of the 20th (...) century. More than enlightening a small master piece of philosophy from a literary perspective, or analyzing a small master piece of literature from the philosophy, what is being problematized here is the division, cultivated or figured throughout the years, between both disciplines. This work is intended to recover what is insoluble from the philosophical-literary labor of Walter Benjamin, besides tracing a possible reconfiguration for an interdisciplinary field of work to come up and contribute in the understanding of the problem called The Retreat of Metaphor by Jacques Derrida. (shrink)

What makes fast, cumulative cultural evolution work? Where did it come from? Why is it the sole preserve of humans? We set out a self-assembly hypothesis: cultural evolution evolved culturally. We present an evolutionary account that shows this hypothesis to be coherent, plausible, and worthy of further investigation. It has the following steps: (0) in common with other animals, early hominins had significant capacity for social learning; (1) knowledge and skills learned by offspring from their parents began to (...) spread because bearers had more offspring, a process we call CS1 (or Cultural Selection 1); (2) CS1 shaped attentional learning biases; (3) these attentional biases were augmented by explicit learning biases (judgements about what should be copied from whom). Explicit learning biases enabled (4) the high-fidelity, exclusive copying required for fast cultural accumulation of knowledge and skills by a process we call CS2 (or Cultural Selection 2), and (5) the emergence of cognitive processes such as imitation, mindreading and metacognition – ‘cognitive gadgets’ specialised for cultural learning. This self-assembly hypothesis is consistent with archaeological evidence that the stone tools used by early hominins were not dependent on fast, cumulative cultural evolution, and suggests new priorities for research on ‘animal culture’. (shrink)

Both for Kant and for Nietzsche, aesthetics must not be considered as a systematic science based merely on logical premises but rather as a set of intuitively attained artistic ideas that constitute or reconstitute the sensible perceptions and supersensible representations into a new whole. Kantian and Nietzschean aesthetics are both aiming to see beyond the forms of objects to provide explanations for the nobility and sublimity of human art and life. We can safely say that Kant and Nietzsche used the (...) dualities of the beautiful/sublime and Apollonian/Dionysian to advocate their general philosophical worldview, and that the initial formation (in Observations and The Birth of Tragedy) and final dissolution (in the Critique of Judgment and Zarathustra and other later works) of these dualities are determined by the gradually established telos of their philosophical endeavor. Therefore, by observing the evolution of these so-called dualities, Kaplama gathers important clues as to how Kant’s and Nietzsche’s aesthetics transformed into different ways to affirm human art and life. On the one hand, Kaplama argues, the Dionysian came to be the heart and soul of Nietzschean aesthetics and ethics, and the Apollonian (or the formal drive of individuation) was reduced into a mere aesthetic criterion. On the other, Kant treats the sublime (which is originally an idea-producing feeling and/or judgment) as a mere appendix to his Critique of Judgment and aesthetic theory teleologically reducing it into its possible moral consequences. This is why Schopenhauer calls the sublime “by far the most excellent thing in the Critique of Judgment” which touches on the real problem of aesthetics very closely but does not provide a real solution for it. Kant’s forced teleological move is to make his theory of aesthetic judgment stand as a ‘reaffirmation’ of the earlier ethical justification he believed to have accomplished in the first two Critiques and the Groundwork where he defends an affirmation of human life through a teleological morality centered on the principle of free-will. In contrast, Nietzsche’s aesthetics (particularly the Dionysian) guides his ethics and metaphysics again through defining an ideal human nature without which ethos would be static and meaningless, lacking the ability to move and change and represent the tragic pathos of human life. (shrink)

Some transhumanists argue that we must engage with theories and facts about our evolutionary past in order to promote future enhancements of the human body. At the same time, they call our attention to the flawed character of evolution and argue that there is a mismatch between adaptation to ancestral environments and contemporary life. One important trait of our evolutionary past which should not be ignored, and yet may hinder the continued perfection of humankind, is the peculiarly human way (...) of bearing and raising children. The suffering associated with childbirth and a long childhood have demanded trade-offs that have enhanced our species, leading to cooperation, creativity, intelligence and resilience. Behaviors such as mother–infant engagement, empathy, storytelling, and ritual have also helped to create what we value most in human beings. Therefore, the moral, cognitive, and emotional enhancements proposed by these transhumanists may be impaired by their partial appropriation of evolution, insofar as the bittersweet experience of parenthood is left aside. (shrink)

Various disciplines, including evolutionary biology, anthropology, archaeology, and psychology, have studied the evolution of rituals. Archaeologists have typically argued that burial practices are one of the most prominent manifestations of ritual practices in the past and have explored various aspects of burial practices, including burial directions. One of the important hypotheses on the cultural evolution of burial practices in Japan is the kitamakura hypothesis, which claims that burial directions (including Kofuns and current burials) were intended to be oriented (...) toward the north after the Kofun period under the influence of Confucianism or Buddhism. This hypothesis would be more plausible if burial directions were not oriented northward before the Kofun period. This research focused on the burial directions in the northern Kyūshū area of the Yayoi period, i.e., the directions of the kamekan jar burials. The results are almost consistent with the hypothesis, although one notable exception is found, and its possible interpretations and implications are discussed. (shrink)

Scott Soames argues that interpreted in the light of Quine's holistic verificationism, Quine's thesis of underdetermination leads to a contradiction. It is contended here that if we pay proper attention to the evolution of Quine's thinking on the subject, particularly his criterion of theory individuation, Quine's thesis of underdetermination escapes Soames' charge of paradoxicality.

ABSTRACT: A report on the pioneering of a new pedagogy designed to challenge students to use and improve their memory, increase their awareness of logical fallacies and tacitly embedded contradiction(s) and sensitize them to the deeply symbolic nature of thought in all its expressions (math, logos, music, picture and motor skills), as created, by the author, from in situ research at a senior level (ESL) course in Storytelling at one of East Asia’s premiere second languages university, and from teaching children (...) in several university summer programs. -/- As a Visiting Professor of Foreign Languages, I recently had a glorious opportunity to innovate curriculum and teaching techniques in an East Asian university classroom. Under the auspices of teaching senior level thematic courses in English as a Foreign Language, or more specifically, “storytelling,” I was blessed with the opportunity to innovate both on the level of curriculum and pedagogy. -/- But let me backtrack to set up my story from the start. All of this began in a children’s ESL class at a private language institute where I was given some newly formed intermediate level English classes for middle school students on a new campus that had yet to form a library. While waiting for my standard textbooks to arrive I began innovating with one of my own childrens’ stories titled The Tale of the Purple People Eater (a three page mythic story written in the late 90s. Please see appendix). In working with this story, because I envisioned presenting it orally (from memory) at first as a way to introduce students to memory arts exercises, I was compelled to read it over many times, which, to my surprise revealed a troubling feature: it was riddled with contradictions in every paragraph. At any rate, with the middle school aged students I only touched on this feature very briefly and focused more on language acquisition exercises. The tale nevertheless impressed upon me this bizarre aspect of language where a story can appear naturally cogent on the surface, but can also come apart at the seems if taken “literally.” Hence, later while teaching Storytelling in university with a rather dry textbook, I was invited to supplement the class with exercises of my own. Here I was curious to try work shopping the ‘Tale of The Purple People Eater’ with young adults. This involved three stages: 1) Memory work — or engaging with the unpublished story orally; 2) Exploring the contradictory nature of language and thought; 3) Probing the “deeply-symbolic” nature of meaning. -/- Of course, all of these levels have a long history of precedence in our civilization. Memory arts — though defunct now — had been highly developed in the ancient world, not least among bards who performed oral recitations from memory of the entire Illiad and Odyssey. Dialectics — now transmuted into the debate for show and prizes — had a deeper epistemological mission to discover truth and achieve enlightenment (i.e. Socrates, Boethius and St-Augustine). And if it could not be done via contradictory-prone rationality, it would do it by re-attaching or re-membering broken meanings via the sym-bol (“throwing together”), as per our lineage of platonic poets who created a world compelling enough to make us ask where Jesus went during his (underworld journey) three days in the crypt? Or, and, on what terrain did Dante travel? -/- Lets look at all three: Memory work can be very simple: it amounts to an oral recitation of the story in class followed by a homework assignment wherein the students are asked to reproduce the story (in writing) from memory. They can then compare ‘notes’ in class and by working in groups attempt to produce one version per group of the story in question. In this way we invite them to engage with ‘live’ stories as did our oral-history ancestors. Likewise, by writing it down (“for the first time”) they are re-living the act of our first bardic writer(s) who wove together a collection of competing versions of a popular legend to produce a standard. Very primal work! If Plato thought that writing meant the end of memory in his time, imagine what smart phones are doing to memory now. Contradictions too are easy to work with. It suffices to project a written version of the teacher’s story on the classroom screen — no note taking! — and let students have ample time to read it over and over, at first to check with their own memorized version, and later to seek out logical contradictions in the prose. Any way to ‘repair’ the story? Does it lose credibility because of contradictions? Can it be real without being true? Can it be true without being real? Do reality (L. res = matter) and truth (Gk. a-leithea = un-forgetting) etymologically speaking, share the same domain? -/- Further, if below the surface-meaning the story falls apart, its apparent mythical meaning immediately is called into question. This is a good time to ask the students to propose a (deeper) interpretation. On the surface, the obvious meaning of the Tale of the Purple People Eater, a world in which a purple ogre predatorily feasted on the purple race of the United Peoples of Benetton (a multi-racial nation representing every “skin colour of the rainbow”), revolves around racism, and indeed everyone save for one, thought the story was about racism. -/- I, the author, had the challenge of discovering the deeper meaning of my own story. Because it was written inspirationally one morning, the way we might record the memory of a dream from the night before in a journal, I also was ignorant of the story’s meaning. As luck would have it, a few days before I was to give my class feedback on their interpretations, a meditation on the color “purple” led to the book “The Color Purple” which I first heard of from a friend who, in my reply to a question about the book she was reading (in 1985), summarized it succinctly in one sentence about a black woman’s sexual awakening and liberation. I quickly got the book from the university library as well as the film which I viewed several times before my next class. -/- To my utter amazement, after reading the Tale of the Purple People Eater in light of the Color Purple and adjusting the meaning of color in the tale from the color of people’s complexion to the “color of people’s souls” (to commensurate with the film) as depicted in their clothing and other accoutrements (e.g. automobiles) as reflective of the “health of their souls” (white for revolt, purple for majesty, etc…) where the enslaved Celie is surrounded by drab lifeless colors in the beginning of the film in contrast to the liberated woman she has become in the end of the story symbolized by the extraordinary intensity of the purple shawl that bedecks her like an African queen, the tale can be considered, in part, as a kind of back story of the inner evolution of the book’s and film’s protagonist. -/- Many other cross-polenised metaphors come to the fore: Hippocrates in the tale is the mail man in the film; St-Yves anti-ageing gel is a metaphor for remaining in “childhood (sexual) slavery”; the Ex-Thrax vaccine is the spiritual laxative in the form of letters from Africa (from Ex-Lax and Thrace, a “wild place”) that eases Celie out of her yoke; the egg-shaped conference table with the pointy end in the tale is the kitchen table in the last meeting where Celie threatens her husband with the pointy end of the knife in the film… -/- Of course, the students could not be expected to decode the meaning of a story of this nature whose collective unconscious connotations the author himself had to go to great lengths to excavate almost like a detective of the subconscious. What was important here was the shared engagement between mind and narrative and how it acted as a vehicle for 1) re-membering, 2) becoming aware that all language is a metaphorical cover and 3) that the deep symbol and fused metaphor are divided not by external time and space but by external reality (in the Latin sense, res) and internal truth (in the Greek sense, aleithea). Myth then, in its highest meaning is a hybrid form (of these two) of narrative. Hence both parts real and true. (shrink)

This paper discusses critically what simulation models of the evolution ofcooperation can possibly prove by examining Axelrod’s “Evolution of Cooperation” and the modeling tradition it has inspired. Hardly any of the many simulation models of the evolution of cooperation in this tradition have been applicable empirically. Axelrod’s role model suggested a research design that seemingly allowed to draw general conclusions from simulation models even if the mechanisms that drive the simulation could not be identified empirically. But this (...) research design was fundamentally flawed, because it is not possible to draw general empirical conclusions from theoretical simulations. At best such simulations can claim to prove logical possibilities, i.e. they prove that certain phenomena are possible as the consequence of the modeling assumptions built into the simulation, but not that they are possible or can be expected to occur in reality I suggest several requirements under which proofs of logical possibilities can nevertheless be considered useful. Sadly, most Axelrod-style simulations do not meet these requirements. I contrast this with Schelling’s neighborhood segregation model, thecore mechanism of which can be retraced empirically. (shrink)

This paper discusses critically what simulation models of the evolution of cooperation can possibly prove by examining Axelrod’s “Evolution of Cooperation” (1984) and the modeling tradition it has inspired. Hardly any of the many simulation models in this tradition have been applicable empirically. Axelrod’s role model suggested a research design that seemingly allowed to draw general conclusions from simulation models even if the mechanisms that drive the simulation could not be identified empirically. But this research design was fundamentally (...) flawed. At best such simulations can claim to prove logical possibilities, i.e. they prove that certain phenomena are possible as the consequence of the modeling assumptions built into the simulation, but not that they are possible or can be expected to occur in reality. I suggest several requirements under which proofs of logical possibilities can nevertheless be considered useful. Sadly, most Axelrod-style simulations do not meet these requirements. It would be better not to use this kind of simulations at all. (shrink)

The causal premise of the evolutionary debunking argument contends that human moral beliefs are explained by the process of natural selection. While it is universally acknowledged that such a premise is fundamental to the debunker’s case, the vast majority of philosophers focus instead on the epistemic premise that natural selection does not track moral truth and the resulting skeptical conclusion. Recently, however, some have begun to concentrate on the causal premise. So far, the upshot of this small but growing literature (...) has been that the causal premise is likely false due to the seemingly persuasive evidence that our moral beliefs are in fact not the result of natural selection. In this paper, I argue that this view is mistaken. Specifically, I advocate the Innate Biases Model, which contends that there is not only compelling evidence for an evolved cognitive capacity for acquiring norms but also for the existence of an evolutionarily instilled set of cognitive biases that make it either more or less likely that we adopt certain moral beliefs. (shrink)