We argue that the counterfactual representations of popular culture, like their religious cognates, are shaped by cognitive constraints that become visible when considered in aggregate. In particular, we argue that comic-book literature embodies core intuitions about sociality and its maintenance that are activated by the cognitive problem of living in large groups. This leads to four predictions: comic-book enforcers should be punitively prosocial, be quasi-omniscient, exhibit kin-signalling proxies and be minimally counterintuitive. We gauge these predictions against a large sample of (...) 19,877 characters that were derived from 72,611 comics using data scraping techniques. Our results corroborate the view that cognitive constraints exercise a selective effect on the transmission of popular culture. (shrink)

One of the more compelling features of Denis Dutton’s The Art Instinct is its theoretical parsimony. Utilizing what essentially amounts to one explanatory principle—that of Darwinian selection—Dutton advances a theory of aesthetics that is at once general enough to account for cross-cultural variations in artistic production and sufficiently nuanced to promote insights into individual artworks. In doing this, Dutton’s work could not offer a greater contrast to some of the more vocal trends in contemporary aesthetic theory, where ponderous theorizing and (...) rebarbative jargons have violently opposed the idea—otherwise so modest—that aesthetic activities might draw on the evolved capacities of the human imagination. On .. (shrink)

The “4E” approach to cognition argues that cognition does not occur solely in the head, but is also embodied, embedded, enacted, or extended by way of extra-cranial processes and structures. Though very much in vogue, 4E cognition has received relatively few critical evaluations. By reflecting on two recent collections, this article reviews the 4E paradigm with a view to assessing its strengths and weaknesses.

The basic premise of biosemiotics as a discipline is that there are elementary processes linking signifying strategies in all forms of animate life. Correspondingly, the discoveries of biosemiotics should, in principle, be capable of revealing new insights about human signification. In the present article, I show that this is in fact the case by constructing a biosemiotic model that links advertising strategies with corresponding structures in animal predation. The methodological framework for this model is the catastrophe theory of René Thom. (...) The end result is a revised understanding of an ostensibly cultural phenomenon that demonstrates its continuity with signalling processes conventionally associated with the natural world. (shrink)