In his earliest philosophical work, Moritz Schlick developed a proposal for rendering aesthetics into a field of empirical science. His 1908 book Lebensweisheit developed an evolutionary account of the emergence of both scientific knowledge and aesthetic feelings from play. This constitutes the framework of Schlick’s evolutionary psychological methodology for examining the origins of the aesthetic feeling of the beautiful he proposed in 1909. He defends his methodology by objecting to both experimental psychological and Darwinian reductionist accounts of aesthetics. Having countered (...) these approaches, Schlick applies Külpe’s psychological distinction between stimulus-feelings and idea-feelings to collapse the traditional philosophical opposition between the agreeable and the beautiful. Both types of feeling, Schlick argues, result from humans’ adaptation to their environment. Because of this adaptation, feelings that were once only stimuli for action can come to be enjoyed for their own sake. This thesis underlies Schlick’s 1908 argument that art, qua mimesis, is necessarily inferior to aesthetic feelings directed towards the environment. Part of Schlick’s justification for this view is that humans are, through a long evolutionary process, better adapted to their environment than to artworks. Schlick nevertheless concedes that mimetic art can involve ways of abstracting from the objects it copies to produce idealised regularities that are not found in the original. Schlick thus concludes that art teaches its audience how to perceive the world in this abstract and idealised manner. This type of environmental aesthetics constitutes a means for reaching Schlick’s utopian ecological vision of a future in which culture will become harmonised with nature. (shrink)

This book represents an attempt to distinguish and define what beauty is in metaphysical terms, to arrive at a better understanding of beauty as a transcendental property of being, and to establish beauty's place in philosophy alongside truth and the good through an exploration of whether there can truly be a philosophy of beauty, or whether beauty is merely a type of aesthetic. The first part of this work outlines the history of philosophical thought on (...) the subject, through an introduction to three great theories of beauty - harmony, form, and relationism - and a discussion of the evolution of the fine arts. The second part introduces first the theory of aesthetics, then the relationship between nature, being, and beauty, and finally the controversy over whether beauty is natural or a product of human knowledge and experience. The third part moves towards a philosophy of beauty in a first sense: something that is real but immaterial, something that can be understood but not seen. This idea is constructed through an examination of beauty's relation to beings and existence, and finally through a juxtaposition of beauty with ugliness. (shrink)

Sex is probably the best example of stable biological variation within the human species. Scientists have tried to account for the origin of sex differences in biological terms using evolutionary theory. Although Charles Darwin derived his theories of natural and sexual selection with no consideration for sex, he assumed that the differences he observed in male and female human and animal behavior were variations related to biology. This chapter examines the link between sex and evolution by reflecting on the (...) various resonances between cultural and social norms one the one hand, and biological theory on the other. It first considers scientific explanations of women's nature, or womanhood as a subject of science, before turning to research on female choice and the animal/woman divide in the early twentieth century. The chapter also discusses the use of human and animal models of “natural” sexual behavior after World War II, sexual selection and biological determinism in the 1970s, and efforts to bridge the gap between feminism and evolutionary theory. (shrink)

The birth of aesthetics in the 18th century marks the passage from beauty to fine taste and the emergence of art as a separate sphere of culture. Indeed, before the Renaissance, art is not viewed separately from handcraft and the craftsman does not receive the distinctive status of a specialist of beautiful, an artist. This is due to two sets of reasons: first, the transformation of beauty, which becomes little by little a matter of taste and is subjective, (...) and second, the emergence in the European culture of a special status for the artist, distinguishing him from the artisan. This slow evolution announced at the beginning of the Renaissance, will be completed only at the beginning of the 19th century. (shrink)

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.

Medieval literature often used stock descriptions of beautiful women following a well-established rhetorical canon which included expressions such as "golden hair," "sparkling eyes," or "skin whiter than snow." But were these terms mere rhetorical conventions derived from Latin poetry, as generally accepted by medieval scholars? And what happens if we examine these descriptions at the "literal" level of interpretation? This survey of works in the languages of medieval Iberia shows that the medieval rhetorical portrait synthesized a widely shared ideal of (...) female beauty which coincides with today's male perceptions of female attractiveness, and is consistent with evolved psychological preferences. (shrink)

The Aesthetic Brain takes the reader on a wide-ranging journey addressing fundamental questions about aesthetics and art. Using neuroscience and evolutionary psychology, Chatterjee shows how beauty, pleasure, and art are grounded biologically, and offers explanations for why beauty, pleasure, and art exist at all.

"You must learn first how to choose a woman" says the character Don Love to the protagonist of the Book of Good Love (fourteenth-century Castile) who has suffered a few setbacks in love. Don Love then goes on to describe in detail the ideal woman, beginning with her physical characteristics: a small head; blond hair; eyebrows set apart, long and arched; a narrow chin; large, prominent, colorful, and shining eyes, with long lashes; small, delicate ears; a long throat; a finely (...) chiseled nose; small, even, sharp and white teeth, close together; red gums; red lips finely-drawn; a small mouth; and her face white, hairless, bright and smooth.1 Formally, this description of the "beautiful woman" is typical of many works .. (shrink)

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.

A fetish is a specific emotionally loaded object, body part, or situation that draws our attention and desire, and sexual fetishism is the sexual arousal that a person experiences when in contact with such a loaded object. Until now, psychology has had trouble understanding the distinctive lust objects and the orchestration of urges in the world of fetishism, so fetishism has therefore fallen into the category of perversions and abnormal behavior. In this study, fetishism is moved to the field of (...) aesthetics, and a new theory is presented: Fetishism is the attraction to certain species-specific key stimuli that are perceived as especially beautiful and exciting. A topic or an object that contains important key stimuli automatically becomes a power object or a fetish. Therefore, we have to look into the innate sensibilities on which our aesthetics are based and into the micro-processes of the aesthetic impulse to understand why something captivates and fascinates us in a fetishist way. (shrink)

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.

This paper presents the story of an isiXhosa traditional healer, Nomzi Hlathi, as told to the first author. Nomzi was asked about how she came to be an igqirha and the narrative focuses on those aspects of her life story that she understood as relevant to that developmental process. The material was obtained from a series of semi-structured interviews with Nomzi, with some collateral from her cousin, and synthesised into a chronological narrative presented in Nomzi’s own words. The aim of (...) the study was to examine her account of her unfolding experience within three hermeneutic frames. The first is the isiXhosa traditional account of what it is to become an igqirha, a process initiated by intwaso, an illness understood to be a call from the ancestors, and guided by messages from the ancestors in dreams and other symbolic communications. The second is the perspective of Western Clinical Psychology on the cognitive, emotional and behavioural disturbances that characterise intwaso. The third is the perspective of transpersonal psychology on the nature and development of shamanic healing gifts, as understood from observations of such practices in traditional societies across the world. As the narrative of Nomzi’s story is quite long, this paper presents her narrative as well as the methodology which gave rise to it. The interpretative review of the material from each of the three perspectives is presented in a second paper. (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)

Flipping convention on its head, Eric Dietrich argues that science uncovers awe-inspiring, enduring mysteries, while religion, regarded as the source for such mysteries, is a biological phenomenon. Just like spoken language, Dietrich shows that religion is an evolutionary adaptation. Science is the source of perplexing yet beautiful mysteries, however natural the search for answers may be to human existence. _Excellent Beauty_ undoes our misconception of scientific inquiry as an executioner of beauty, making the case that science has won the (...) battle with religion so thoroughly it can now explain why religion persists. The book also draws deep lessons for human flourishing from the very existence of scientific mysteries. It is these latter wonderful, completely _public_ truths that constitute some strangeness in the proportion, revealing a universe worthy of awe and wonder. (shrink)

In this controversial new book O'Hear takes a stand against the fashion for explaining human behavior in terms of evolution. He contends that while the theory of evolution is successful in explaining the development of the natural world in general, it is of limited value when applied to the human world. Because of our reflectiveness and our rationality we take on goals and ideals which cannot be justified in terms of survival-promotion or reproductive advantage. O'Hear examines the nature (...) of human self-consciousness, and argues that evolutionary theory cannot give a satisfactory account of such distinctive facets of human life as the quest for knowledge, moral sense, and the appreciation of beauty; in these we transcend our biological origins. It is our rationality that allows each of us to go beyond not only our biological but also our cultural inheritance: as the author says in the Preface, "we are prisoners neither of our genes nor of the ideas we encounter as we each make our personal and individual way through life.". (shrink)

Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our species’ evolutionary development, which (...) took place over thousands of years? In other words, do aesthetic practice and appreciation help people to survive or reproduce? Do aesthetic behaviors help to propel natural selection? If so, what does that tell us about ourselves as human beings? What does it tell us about art, our other aesthetic practices, and aesthetic experience? (shrink)

Denis Dutton’s The Art Instinct succeeds admirably in showing that it is possible to think about art from a biological point of view, and this is a significant achievement, given that resistance to the idea that cultural phenomena have biological underpinnings remains widespread in many academic disciplines. However, his account of the origins of our artistic impulses and the far-reaching conclusions he draws from that account are not persuasive. This article points out a number of problems: in particular, problems with (...) Dutton’s appeal to sexual selection, with his discussion of the adaptation/by-product distinction and its significance, and with drawing normative conclusions from evolutionary hypotheses. (shrink)

Since Darwin, the idea of psychological continuity between humans and other animals has dominated theory and research in investigating the minds of other species. Indeed, the field of comparative psychology was founded on two assumptions. First, it was assumed that introspection could provide humans with reliable knowledge about the causal connection between specific mental states and specific behaviors. Second, it was assumed that in those cases in which other species exhibited behaviors similar to our own, similar psychological causes were at (...) work. In this paper. we show how this argument by analogy is flowed with respect to the case of second-order mental states. As a test case, we focus on the question of how other species conceive of visual attention, and in particular whether chimpanzees interpret seeing as a mentalistic event involving internal states of perception, attention, and belief. We conclude that chimpanzees do not reason about seeing in this manner, and indeed, there is considerable reason to suppose that they do not harbor representations of mental states in general. We propose a reinterpretation model in which the majority of the rich social behaviors that humans and other primates share in common emerged long before the human lineage evolved the psychological means of interpreting those behaviors in mentalistic terms. Although humans, chimpanzees, and most other species may be said to possess mental states, humans alone may have evolved a cognitive specialization for reasoning about such states. (shrink)

Contrary to Eckart Förster, I argue that the Opus postumum represents more of an evolution than a revolution in Kant's thought. Among other points, I argue that Kant's Selbstsetzungslehre, or theory of self-positing, according to which we cannot have knowledge of the spatio-temporal world except through recognition of the changes we initiate in it by our own bodies, does not constitute a radicalization of Kant's transcendental idealism, but is a development of the realist line of argument introduced by the (...) "Refutation of Idealism" of 1787-90; and I argue that Kant's concept of the highest good, which according to Förster was only revised to connect virtue to collective rather than individual happiness in 1790-93 and was then in any case withdrawn in the Opus postumum, was uninterruptedly focused on collective happiness from the first edition of the first Critique, and that there is no reason to believe that ever Kant retracted it. (shrink)

Abstract.This essay sketches an interpretation of human experience utilizing the perspective of’ process philosophy. Beauty is a key notion, and emergent evolution is a central theme. The following topics are addressed: the emergence of modern evolutionary thinking and alternative responses to it; the nature of human nature in a process perspective; the place of humans in nature; the immanence of laws; emergent evolution on this planet; some implications of the hierarchy of nature for the interpretation of human (...) life, human morality, and human values; and human religious experience. (shrink)

In this article, the potential for Artificial Intelligence (AI) to be appraised as an object of beauty is critically examined through the lens of philosophical thought. Tracing beauty’s evolution from Platonic ideals to contemporary interpretations, the analysis contends that AI’s emergence offers a unique illustration of beauty in the modern age. Confronting the challenge of assigning beauty to entities devoid of consciousness or emotional depth, the argument unfolds to suggest that the intricate design of AI’s (...) algorithms and its technological advancements constitute an emergent form of beauty, one inherently tied to human intellectual endeavor. The article proposes that with time, as with historical art forms, the aesthetic qualities of AI may gain broader acknowledgment, implying that technological advancements necessitate an ongoing revision of established beauty norms. The historical evolution of beauty has been traced in details, and an extended literature review has been provided, serving as the foundation for a comprehensive exploration into the potential for AI to be recognized as an object of beauty. The harmony, elegance, and problem-solving capabilities of AI algorithms have been meticulously evaluated, with a comparison made to classical elements of beauty in an effort to contextually situate AI within longstanding aesthetic traditions. Furthermore, the analysis has been extended to consider the emergence of artificial and digital beauty, alongside an investigation into the parallels drawn between divine and artificial intelligence. As part of a deeper inquiry, the possibility of human emotions, such as awe and love, being authentically directed towards AI has been scrutinized. In conclusion, a reflection has been presented on the transformative role of AI in reimagining the conceptual landscape of beauty, prompting readers to thoughtfully engage with an extended review and the philosophical and cultural implications emerging from AI’s evolving influence on the field of aesthetics. (shrink)

I want to begin with four quotations, fairly typical of their type, and germane to our topic because they encapsulate what many artists and art lovers feel about art and music. These feelings are often inchoate, to be sure, and in the cold light of analytical day they may look extravagant and exaggerated. But they do capture something of the experience people often have of art and beauty, and for that reason alone must be given some phenomenological plausibility at (...) least. (shrink)

Mortal and immortal DNA : Craig Venter and the lure of "lamia" -- Homeopathy : Holmes, hogwarts, and the Prince of Wales -- Citizen Pinel and the madman at Bellevue -- The experimental pathology of stress : Hans Selye to Paris Hilton -- Gore's fever and Dante's Inferno : Chikungunya reaches Ravenna -- Giving things their proper names : Carl Linnaeus and W.H. Auden -- Spinal irritation and fibromyalgia : Lincoln's surgeon general and the three graces -- Tithonus and the (...) fruit fly : new science and old myths -- Swiftboating "America the beautiful" : Katharine Lee Bates and a Boston marriage -- Nothing makes sense in medicine except in the light of biology -- Apply directly to the forehead : Holmes, Zola, and Hennapecia -- Elizabeth Blackwell breaks the bonds -- Chronic lyme disease and medically unexplained syndromes -- Eugenics and the immigrant : Rosalyn Yalow and Rita Levi-Montalcini -- Science in the Middle East : Robert Koch and the cholera war -- How to win a Nobel prize : thinking inside and outside the box -- Homer Smith and the lungfish : the last gasp of intelligent design -- DDT is back : let us spray! -- Academic boycotts and the Royal Society -- Teach evolution, learn science : John William Draper and the "bone bill" -- Diderot and the yeti crab : the encyclopedias of life -- Dengue fever in Rio : Macumba versus Voltaire. (shrink)

Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our species’ evolutionary development, which (...) took place over thousands of years? In other words, do aesthetic practice and appreciation help people to survive or reproduce? Do aesthetic behaviors help to propel natural selection? If so, what does that tell us about ourselves as human beings? What does it tell us about art, our other aesthetic practices, and aesthetic experience? (shrink)

George McGhee’s book “Convergent Evolution: limited forms most beautiful” provides an extensive survey of biological convergence. This paper has two main aims. First, it examines the theoretical claims McGhee makes about convergent evolution—specifically criticizing his use of a total morphospace to understand contingency and his assumption that functional constraints are non-contingent. Second, it sketches a group of important conceptual challenges facing researchers interested in convergence.

A review of Denis Dutton´s The Art Instinct: Beauty, Pleasure, and Human Evolution (New York: Bloomsbury Press, 2009, 280 pp. ISBN 978-1-59691-401-8).

In this fascinating and bold discussion, a renowned neurobiologist serves as guide to the most complex physical object in the living world: the human brain. Taking into account the newest brain research—morphological, physiological, chemical, genetic—and placing these findings in the context of psychology, philosophy, art, and literature, Changeux ventures into the unexplored territories where these diverse disciplines intersect. Changeux's book draws on Plato's notion that the Good, the True, and the Beautiful are celestial essences or ideas, independent but so intertwined (...) as to be inseparable. Placing these essences within the characteristic features of the human brain's neuronal organization, the author addresses unsolved questions in neuroscience today. With imagination and deep insight, Changeux illuminates the evolution of the brain and deciphers what new developments in neuroscience may portend for the future of humanity. (shrink)

Fairness is a normative ideal that runs through sports. After all, what defines our cultural evolution in general is a conception of morality, whether thought of in the context of the state, tribe, team, or individual. Human dignity is also one of the important features of sport. Sport is reality for the better part of our nature. We find inspiration for the meaning of life in sport; dignity, social contact, rising to show the “better angel” overcoming adversity, managing defeat, (...) the wondrous sense of well-earned and arduous victory, graciousness toward others in their defeat. While human dignity and solidarity are particularly expressed in the context of the Special Olympics, adaptation, well-being, and the role of sport are important elements in the context of all sporting events. Sport remains timeless while being a lifelong activity for many. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 155-165 [Access article in PDF] Critical Discussions Big Guys, Babies, and Beauty Nancy Easterlin Art and Intimacy: How the Arts Began, by Ellen Dissanayake; xvii & 265 pp. Seattle: University of Washington Press, 2000, $29.95. The intellectual climate of postmodernism has not been particularly encouraging for the development of an evolutionary theory of the arts. Concentrated in constructionist modes of analysis and interpretation (...) for the past thirty years, the social sciences and humanities have asserted that aesthetic objects and practices are produced and regulated by social and cultural structures, and serve overwhelmingly to reinforce those structures. In its most extreme form, postmodern constructionism claims that all meaning or significance derives from social and cultural factors, and that perceived truth is a matter of agreement or a function of power. If, for instance, we like Edward Weston's photographs and Georgia O'Keefe's paintings because we observe striking similarities between the organic forms represented in them and features of the human form, postmodernism counsels us that our preferences are dictated by social and cultural regulators, such as current discourses about nature and art, and not in any way by predisposed attractions to types of natural objects or to the relationships between them.Certainly, it would be foolhardy to argue that social and cultural context have no influence on either the type of art that is produced or its reception in any given culture, but a thoroughgoing or strong [End Page 155] constructionism is another matter. 1 Strong constructionism cannot explain--or, to be more accurate, refuses to explain--why we have art in the first place. Recent intellectual fashion has dictated, in sum, that the most interesting questions about art, the truly thought-provoking and hard questions, should not be asked. Yet even in an era inimical to the study of complexity, some scholars will continue to grapple with the interesting questions. So it is that within the past twelve years Ellen Dissanayake has published three books that together stand as the major contribution to an evolutionary understanding of the arts.Dissanayake's three books--What Is Art For? (1988); Homo Aestheticus: Where the Arts Come From and Why (1992); and, most recently, Art and Intimacy: How the Arts Began (2000)--build on one another, elaborating a functional account of the genesis and adaptive value of the arts. 2 It is fitting that each volume amplifies Dissanayake's central theory, representing, as it were, a new stage in that theory's evolution, for elaboration is a key concept in Dissanayake's work.First and foremost, Dissanayake establishes the need for a functional account of art in What Is Art For? before developing her central thesis. Pointing out that what we know of pre-industrial cultures is inconsistent with the traditional approach to aesthetics, Dissanayake fruitfully suggests we readjust our intellectual lens. Whereas aestheticians have been preoccupied for centuries with discovering a transcendent essence for art, a functional and evolutionary account reveals the myopia of such an approach. Premodern cultures, because they do not separate life into discrete categories including the real and everyday, the imaginative and aesthetic, and the religious, have no concept of art apart from everyday activities or utilitarian considerations and, therefore, the study of these cultures calls the existence of a transcendent art essence into question. As constructionist colleagues would be happy to point out, the quest for essences does indeed attest to a cultural bias, that particular bias being an overwhelming tendency to conceptualize in rigid dualities within modern western culture; simultaneously, the quest for essences conflicts with an evolutionary understanding of human beings and their practices. In thus preparing the ground for her central argument, Dissanayake recommends persuasively the need for a major shift in focus among aestheticians, who are encouraged to look at how art behaviors work in adaptively significant ways within human social life.In Dissanayake's account, all of those activities, adornments, and the like in pre-industrial culture that we today see as the ancestors of [End Page 156] modern art forms exemplify a predisposition toward elaboration or, in her chosen phrase... (shrink)

One of the explicit objectives of Darwin's Descent of Man, and Selection in Relation to Sex was to explain cultural differences seen in human beings. Such an explanation, Darwin believed, was to rest upon an understanding of sexual selection. I examine the role that the beautiful plays within the mechanism of sexual selection as it works to differentiate isolated groups. It is suggested that an examination of the relationship between sexual selection and artificial selection — a relationship mediated by the (...) beautiful — will illuminate key issues of the Descent as well as contemporary debates regarding the relationship between evolution and ethics. The beautiful, originally rooted in sexual selection, can become de-coupled from sexual selection and utilized in some selective process which is conscious. (shrink)

The integral consciousness -- The internal universe -- The evolution of consciousness -- The within of things -- The systemic nature of evolution -- Stages of consciousness and culture -- The spiral of development -- Tribal consciousness -- Warrior consciousness -- Traditional consciousness -- Modernist consciousness -- Postmodern consciousness -- The spiral as a whole -- What is the real evidence for the spiral? -- The integral stage of consciousness -- Life conditions for integral consciousness -- The values (...) of integral consciousness -- Integral consciousness in the context of history -- Practicing the integral lifestylevalue metabolism -- Postintegral consciousness -- Integral politics -- The politics of the spiral -- Integral politics and global governance -- Is global governance an unrealistic fantasy? -- Is global governance too dangerouswhat are the safeguards? -- Global governance and integral consciousness cocreate each other -- Integral spirituality -- The development of spiritual traditions -- Public spirituality in the integral age -- Beauty, truth, and goodnessphilosophical spirituality -- The practice of beauty, truth, and goodness -- The revelation of evolution -- The founders of integral philosophy -- Ken Wilber in context -- The evolution of philosophy as a human endeavor -- Hegel, the first integral philosopher -- Bergson, the first post-darwinian integral philosopher -- Whitehead, spiritual philosopher for the ages -- Teilhard de Chardin, master of the internal universe -- Gebser, prophet of integral consciousness -- Developmental psychology and the mapping of the internal universe -- Habermas, architect of integral foundations -- Wilber, framer of integral philosophys twenty-first-century synthesis -- What I add to integral philosophy -- The integral reality frame -- Metaphysics and the evolution of reality frames -- The integral map of reality -- Integral philosophy and human spirituality -- Some critiques of the integral reality frame -- Structures of the human mind -- Lines of development recognized by psychologists -- Wilber's theory of the lines of development -- A critique of Wilber's theory of developmental lines -- An alternative theory of the structures of consciousness -- The self as a whole -- The directions of evolution -- Evolution and the idea of progress -- Unity, complexity, and consciousness -- Directions of evolution in the internal universe -- The dialectical quality of the master patterns of evolution -- Potential applications of a dialectical understanding of evolution. (shrink)

In this, the second of two papers, three interpretative investigations are undertaken of Nomzi’s story of her troubled childhood, her dreams of ancestors calling her to become an igqirha, her training by experienced healers, various rituals that were performed at different stages of her life, and her eventual graduation as an igqirha at the age of 61. The narrative cannot be understood apart from the framework of the isiXhosa traditional understanding of intwaso, the initiatory illness, the role of the ancestors, (...) and the manner in which clairvoyant abilities of divination and healing are developed under their guidance. Nomzi’s account, however, reflects a considerable modification of the tradition, several features of which she does not seem to understand herself. From a clinical psychological perspective, Nomzi’s behavioural disturbances in childhood, as well as her lifelong suspiciousness and paranoia, can be understood as a consequence of an unstable childhood in which there was no secure attachment, nor any adult guidance on emotional regulation of the kind needed to form the basis of a stable adult personality. From the perspective of transpersonal psychology, it seems likely that Nomzi was endowed with a degree of natural clairvoyance, but her development as a healer was impaired by displacement of her paranoid ideation into the role of witch-finder, and her chronic social alienation. (shrink)

If religion means a commitment to a set of theological propositions regarding the nature of God, the soul, and an afterlife, Ernst Haeckel (1834-1919) was never a religious enthusiast. The influence of the great religious thinker Friedrich Daniel Schleiermacher (1768-1834) on his family kept religious observance decorous and commitment vague.2 The theologian had maintained that true religion lay deep in the heart, where the inner person experienced a feeling of absolute dependence. Dogmatic tenets, he argued, served merely as inadequate symbols (...) of this fundamental experience. Religious feeling, according to Schleiermacher’s Über die Religion (On religion, 1799), might best be cultivated by seeking after truth, experiencing beauty, and contemplating nature.3 Haeckel practiced this kind of Schleiermachian religion all of his life. Haeckel’s association with the Evangelical Church, even as a youth, had been conventional. The death of his first wife severed the loose threads still holding him to formal observance. The power of that death, his obsession with a life that might have been, and the dark feeling of love forever lost drove him to find a more enduring and rational sub-. (shrink)

In this essay, we discuss Simona Ginsburg and Eva Jablonka’s The Evolution of the Sensitive Soul from an interdisciplinary perspective. Constituting perhaps the longest treatise on the evolution of consciousness, Ginsburg and Jablonka unite their expertise in neuroscience and biology to develop a beautifully Darwinian account of the dawning of subjective experience. Though it would be impossible to cover all its content in a short book review, here we provide a critical evaluation of their two key ideas—the role (...) of Unlimited Associative Learning in the evolution of, and detection of, consciousness and a metaphysical claim about consciousness as a mode of being—in a manner that will hopefully overcome some of the initial resistance of potential readers to tackle a book of this length. (shrink)

The phenomenon of apparently greater emphasis on human female physical attractiveness has spawned an array of explanatory responses, but the great majority can be broadly categorized as either evolutionary or social constructivist in nature. Both perspectives generate distinct and testable predictions. If, as Naomi Wolf (The beauty myth: How images of female beauty are used against women. New York: William Morrow, [originally published in 1991], 2002) and others have argued, greater emphasis on female attractiveness is part of a (...) predominantly Western “beauty myth,” then an analysis of a culturally diverse sample should reveal marked fluctuation in gendered attractiveness emphasis: there should be significant numbers of cultures in which male and female attractiveness are equally emphasized, and cultures in which male attractiveness receives more emphasis. On the other hand, an evolutionary perspective suggests that disproportionate emphasis on female attractiveness will be a universal or near-universal phenomenon. To test these hypotheses, we tallied references to male versus female attractiveness in 90 collections of traditional folktales from 13 diverse cultural areas. The results are consistent with the evolutionary predictions and inconsistent with the constructivist predictions. Across culture areas information on physical attractiveness was much more likely to be conveyed for female characters. Together with other recent studies, these results suggest that the main elements of the beauty myth are not myths: there are large areas of overlap in the attractiveness judgments of diverse populations, and cross-cultural emphasis on physical attractiveness appears to fall principally upon women. (shrink)