Philip Kitcher’s The Ethical Project trios to vindicates ethics through an analysis of its evolutionary and cultural history, a history which in turn, he thinks, supports a particular conception of the role of moral thinking and normative practices in human social life. As Kitcher sees it, that role could hardly be more central: most of what makes human life human, and preferable to the fraught and impoverished societies of the great apes, depends on moral cognition. Prom this view of the (...) role of the ethical project as a social technology, Kitcher derives an account of moral progress and even moral truth: a normative analogue of the idea that truth is the convergence of rational enquiry. To Kitcher’s history, I present an anti-history. Most of what is good about human social life depends on the expansion of our social emotions, not on our capacities to articulate and internalise explicit norms. Indeed, since the Holocene and the origins of complex society, normative thought and normative institutions have been more prominent as tools of exploitation and oppression than as mechanisms of a social peace that balances individual desire with collective co-operation. I argue that the vindication project fails in its own terms: even given Kitcher’s distinctive pragmatic concept of vindication, history debunks rather than vindicates moral cognition. (shrink)

There has been a recent surge of evolutionary explanations of art. In this article I evaluate one currently influential example, Brian Boyd’s recent book On the Origin of Stories: Evolution, Cognition, and Fiction (2009). The book offers a stimulating collection of findings, ideas, and hypotheses borrowed from a wide range of research disciplines (philosophy of art and art criticism, anthropology, evolutionary and developmental psychology, neurobiology, ethology, etc.), brought together under the umbrella of evolution. However, in so doing Boyd lumps together (...) issues that need to be separated, most importantly, organic and cultural evolution. In addition, he fails to consider alternative explanations to art as adaptation such as exaptation and constraint. Moreover, the neurobiological literature suggests current evidence of biological adaptation for most of the arts is weak at best. Given these considerations, I conclude by proposing to regard the arts instead as culturally evolved practices building on pre-existing biological traits. (shrink)

(No abstract is available for this citation).

The structuring of our environment to provide cues and reminders for ourselves is common: We leave notes on the fridge, we have a particular place for our keys where we deposit them, making them easy to find. We alter our world to streamline our cognitive tasks. But how did hominins gain this capacity? What pushed our ancestors to structure their physical environment in ways that buffered thinking and began the process of using the world cognitively? I argue that the capacity (...) to engage in these behaviours is a by-product of increased tool investment and tool curation, which in turn was necessary because of increasingly heterogeneous environments. The minute tools are carried and cared for, they begin to undergo selection for added functions, becoming available as cognitive primers and as signals. I explore the trajectory of this co-evolutionary feedback loop of hominins and their tools, and demonstrate the role tools have in shaping our thinking. (shrink)

What was the role of music in the evolutionary history of human beings? We address this question from the point of view that musicality can be defined as a cognitive trait. Although it has been argued that we will never know how cognitive traits evolved (Lewontin, 1998), we argue that we may know the evolution of music by investigating the fundamental cognitive mechanisms of musicality, for example, relative pitch, tonal encoding of pitch, and beat induction. In addition, we show that (...) a nomological network of evidence (Schmitt & Pilcher, 2004) can be built around the hypothesis that musicality is a cognitive adaptation. Within this network, different modes of evidence are gathered to support a specific evolutionary hypothesis. We show that the combination of psychological, medical, physiological, genetic, phylogenetic, hunter–gatherer, and cross-cultural evidence indicates that musicality is a cognitive adaptation. (shrink)

It is unreasonable to assume that our pre-scientific emotion vocabulary embodies all and only those distinctions required for a scientific psychology of emotion. The psychoevolutionary approach to emotion yields an alternative classification of certain emotion phenomena. The new categories are based on a set of evolved adaptive responses, or affect-programs, which are found in all cultures. The triggering of these responses involves a modular system of stimulus appraisal, whose evoluations may conflict with those of higher-level cognitive processes. Whilst the structure (...) of the adaptive responses is innate, the contents of the system which triggers them are largely learnt. The circuits subserving the adaptive responses are probably located in the limbic system. This theory of emotion is directly applicable only to a small sub-domain of the traditional realm of emotion. It can be used, however, to explain the grouping of various other phenomena under the heading of emotion, and to explain various characteristic failings of the pre-scientific conception of emotion. (shrink)

It is unreasonable to assume that our pre-scientific emotion vocabulary embodies all and only those distinctions required for a scientific psychology of emotion. The psychoevolutionary approach to emotion yields an alternative classification of certain emotion phenomena. The new categories are based on a set of evolved adaptive responses, or affect-programs, which are found in all cultures. The triggering of these responses involves a modular system of stimulus appraisal, whose evoluations may conflict with those of higher-level cognitive processes. Whilst the structure (...) of the adaptive responses is innate, the contents of the system which triggers them are largely learnt. The circuits subserving the adaptive responses are probably located in the limbic system. This theory of emotion is directly applicable only to a small sub-domain of the traditional realm of emotion. It can be used, however, to explain the grouping of various other phenomena under the heading of emotion, and to explain various characteristic failings of the pre-scientific conception of emotion. (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 describes a pattern of explanation prevalent in the biological sciences that I call a ‘lineage explanation’. The aim of these explanations is to make plausible certain trajectories of change through phenotypic space. They do this by laying out a series of stages, where each stage shows how some mechanism worked, and the differences between each adjacent stage demonstrates how one mechanism, through minor modifications, could be changed into another. These explanations are important, for though it is widely accepted (...) that there is an ‘incremental constraint’ on evolutionary change, in an important class of cases it is difficult to see how to satisfy this constraint. I show that lineage explanations answer important questions about evolutionary change, but do so by demonstrating differences between individuals rather than invoking population processes, such as natural selection.1. Introduction2. Turning a ‘Scale’ into a ‘Plume’3. Lineage Explanations in Biology3.1. The evolution of eyes3.2. The evolution of feathers4. The Two Dimensions of a Lineage Explanation4.1. The production dimension4.2. The continuity dimension4.3. The dual role of the parts5. Constraining the Explanations6. Operational and Generative Lineages7. Explaining Change Without Populations8. Conclusion. (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.