The Oxford Handbook of Evolutionary Psychology is the definitive, comprehensive, and authoritative text on this burgeoning field. With contributions from over fifty experts in the field, the range and depth of coverage is unequalled. It will be an essential resource for students and researchers in psychology.

A fan is someone who, at minimum, has an interest in a thing to such a degree that they make it a recurring part of their life. If a person is reading this book then there is a good chance he/she is a fan of Saturday Night Live. Some people are fans of music, movies, or television, but this chapter focuses on sports fans. Specifically, it is concerned with partisan fans, the kind who watch football for the love of a (...) particular team, not for pure love of the game. Fans identify with each other through their shared interest, becoming a community. They support the same teams emotionally, financially, and otherwise. They also support each other through camaraderie and conversation. Depending on the level of fandom, there are different directions a fan can move. Casual and moderate fans can regress, grow, or stay the same, whereas Super Fans can only regress or stay the same. (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 Shape of Thought: How Mental Adaptations Evolve presents a road map for an evolutionary psychology of the twenty-first century. It brings together theory from biology and cognitive science to show how the brain can be composed of specialized adaptations, and yet also an organ of plasticity. Although mental adaptations have typically been seen as monolithic, hard-wired components frozen in the evolutionary past, The Shape of Thought presents a new view of mental adaptations as diverse and variable, with distinct functions (...) and evolutionary histories that shape how they develop, what information they use, and what they do with that information. The book describes how advances in evolutionary developmental biology can be applied to the brain by focusing on the design of the developmental systems that build it. Crucially, developmental systems can be plastic, designed by the process of natural selection to build adaptive phenotypes using the rich information available in our social and physical environments. This approach bridges the long-standing divide between "nativist" approaches to development, based on innateness, and "empiricist" approaches, based on learning. It shows how a view of humans as a flexible, culturally-dependent species is compatible with a complexly specialized brain, and how the nature of our flexibility can be better understood by confronting the evolved design of the organ on which that flexibility depends. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 31.1 (2007) 189-196MuseSearchJournalsThis JournalContents[Access article in PDF]Fiction and Theory of Mind: An ExchangeLisa Zunshine University of KentuckyBrian Boyd's review of my new book, Why We Read Fiction: Theory of Mind and the Novel (Ohio State University Press, 2006) engages a large variety of issues.1 I would like to address an important question about the integration of scientific methodology with literary analysis suggested by Boyd's discussion.2 As (...) I argue below, two different perspectives of this integration may mark two different—indeed, incompatible—ways of formulating the disciplinary goals and philosophy of the new field of cognitive literary theory.Why We Read Fiction makes a case for admitting the recent findings of cognitive psychologists into literary studies by showing how their research into the ability to explain behavior in terms of the underlying states of mind can furnish us with a series of surprising insights into our interaction with literary texts. Using as my case studies novels ranging from Richardson's Clarissa, Dostoyevsky's Crime and Punishment, and Austen's Pride and Prejudice to Woolf's Mrs. Dalloway, Nabokov's Lolita, and Hammett's The Maltese Falcon, I advance and explore a series of hypotheses about cognitive cravings that are satisfied—and created!—when we read fiction.Although my study draws on the already well-established as well as forthcoming work of numerous cognitive scientists (including Simon Baron-Cohen, Clark H. Barrett, Richard Byrne and Andrew Whiten, Leda Cosmides and John Tooby, Christopher Frith, Uta Frith, Paul Bloom, Susan Carey and Elizabeth Spelke, Peter Carruthers, Andy Clark, Antonio Damasio, Daniel Dennett, Alison Gopnik, Francesca Happe, Paul [End Page 189] Harris, Lawrence Hirschfeld, Stanley Klein, Alan Leslie, Andrew Meltzoff, Robert Mitchell, Keith Oatley, Gloria Origgi, Oliver Sacks, Dan Sperber, James Stiller, and Endel Tulving), it makes a point of being accessible to non-specialist readers. Cognitive science can be incredibly complicated and so can literary criticism, but I wanted to write a book on cognitive literary theory that does not scare anybody away with unnecessary jargon, knotty sentences, and overlong quotations. (Ironically, I must have succeeded too well in making my book reader-friendly and tucking my references in the endnotes since Boyd observes that I rely on only "a few findings" of cognitive scientists in my discussion.)The book consists of three parts. The first part, "Attributing Minds," introduces the first key theoretical concept of this book: mind-reading, also known as Theory of Mind. Drawing on the work of Simon Baron-Cohen (Mindblindness: An Essay on Autism and Theory of Mind), I suggest that fiction engages, teases, and pushes to its tentative limits our mind-reading capacity. Building on the recent research of Robin Dunbar and his colleagues, I then consider one particular aspect of Woolf's prose as an example of spectacular literary experimentation with our Theory of Mind. Finally, I turn to Steven Pinker's controversial analysis of Woolf in The Blank Slate to discuss the possibilities of a more profitable dialogue between cognitive science and literary studies.Of particular importance to this part of my argument is my belief that fictional narratives endlessly experiment with rather than automatically execute our evolved cognitive adaptations. When cognitive scientists succeed in isolating a certain regularity of our information-processing—for example, a constraint on the number of mutually reflecting minds that we can process with ease—we can take that constraint and see how it plays itself out in a fictional narrative. What we discover is that where there is a cognitive constraint, there is a "guarantee" of sorts that writers will intuitively experiment in the direction of challenging that constraint, probing and poking it and getting around it. The exact forms of such probing and poking will depend on specific cultural circumstances, including the mind-reading profiles of individual writers and their readers. The cognitive "limits" thus present us with creative openings rather than with a promise of stagnation and endless replication of established forms. This realization marks the possibility of a genuine interaction between cognitive psychology and... (shrink)

Using the latest cognitive and psychological scientific data and theory, this book answers the question "why would anyone believe in God?".

James Connelly and Giuseppina D'Oro present a revised edition of R. G. Collingwood's classic work of 1933, supplementing the original text with important related writings from Collingwood's manuscripts which appear here for the first time. The editors also contribute a substantial new introduction, and the volume will be welcomed by all historians of twentieth-century philosophy.

In this paper I describe the history of the surreal trajectories problem and argue that in fact it is not a problem for Bohm's theory. More specifically, I argue that one can take the particle trajectories predicted by Bohm's theory to be the actual trajectories that particles follow and that there is no reason to suppose that good particle detectors are somehow fooled in the context of the surreal trajectories experiments. Rather than showing that Bohm's theory predicts the wrong particle (...) trajectories or that it somehow prevents one from making reliable measurements, such experiments ultimately reveal the special role played by position and the fundamental incompatibility between Bohm's theory and relativity. They also provide a striking example of the theory-ladenness of observation. (shrink)

2014 Reprint of 1945 Edition. Full facsimile of the original edition, not reproduced with Optical Recognition Software. The first part deals with Greek cosmology and is the longest, the most elaborate and, on the whole, the liveliest part of a book which never deviates into dullness. The dominant thought in Greek cosmology, Collingwood holds, was the microcosm-macrocosm analogy, nature being the substance of something ensouled where "soul" meant the self-moving. Part II is "The Renaissance View of Nature." Collingwood describes the (...) rise and decline of the deists' view of Nature as a machine designed by the Great Contriver who, having turned it out, watches it go. Part III, "The Modern View of Nature," deals with very recent or contemporary philosophy and science, discerning in it a radical evolutionism first in biology and later in cosmology. Remains to this day a classic text in the history of ideas. (shrink)

Forty-nine members of the Oxford public took part in a controlled free-recall experiment, the first 'minimal counterintuitiveness theory' study to control concept inferential potential and participant selective-attention timing. Recall of counterintuitive ideas was compared with recall of ideas expressing necessary epistemic incongruence, analytically true ideas, and ordinary control ideas. The items expressing necessary epistemic incongruence had better recall than other items. MCI items had a mnemonic advantage over intuitive templates for participants twenty-five years and younger after a one-week delay, but (...) MCI items did not have an advantage for older participants. There was no mnemonic advantage for immediate recall of MCI items in any age group. Analyses suggest this general failure to replicate previously found mnemonic advantages may have been due to restricting the items' inferential potential. (shrink)

We consider connections between number sense—the ability to judge number—and the interpretation of natural language quantifiers. In particular, we present empirical evidence concerning the neuroanatomical underpinnings of number sense and quantifier interpretation. We show, further, that impairment of number sense in patients can result in the impairment of the ability to interpret sentences containing quantifiers. This result demonstrates that number sense supports some aspects of the language faculty.

We present a sketch of a formulation of an analysis of clarification ellipsis using dependent record types as they have been developed in Martin-Lof type theory. Record types provide a semantic formalism which at the same time..

We are concerned here with explaining how successful rule-following behavior might evolve and how an old evolved rule might come to be successfully used in a new context. Such rule-following behavior is illustrated in the transitive judgments of pinyon and scrub-jays (Bond et al., Anim Behav 65:479–487, 2003). We begin by considering how successful transitive rule-following behavior might evolve in the context of Skyrms–Lewis sender–receiver games (Lewis, Convention. Harvard University Press, Cambridge, 1969; Skyrms, Philos Sci 75:489–500, 2006). We then consider (...) two ways that an agent might come to use an old evolved rule in a new context. The first involves the agent evolving successful dispositions for one concrete type of experience, then associating a new type of experience with the old evolved dispositions. The second involves the agent evolving dispositions that represent a general inferential schema, then composing these dispositions with others in a way that allows the agent to make inferences concerning a new concrete type of experience. (shrink)

In this paper, I will be arguing that the most recent incarnation of AI research -- that of embodied robotics and situated cognition -- demonstrates a strict and remarkable parallel with the work of mid-century French phenomenologist Maurice Merleau-Ponty, and that through this parallel we see demonstration and confirmation of ideas about minds, bodies, and what Merleau-Ponty often called a 'dialogue with the world'. Seeing these theories confirmed in AI research will ultimately provide us with evidence that suggests our traditional (...) understanding of minds as these isolated entities shuffling symbolic representations around in the absence of interaction is simply absurd, and in fact dialogue itself comes first -- dialogue with others and dialogue with the world itself. (shrink)

This article reports some findings from a study of verbal interaction from sittings between members of the public and mediums: people who claim to be able to talk to the dead on behalf of the living. Instead of trying to debunk the ontological status of the mediums' claimed powers and the existence of the afterlife, the article examines mediums' discourse as a form of institutional interaction. It focuses on instances in which mediums report the words of their spirit contacts in (...) their sittings with clients. It is argued that this is a key practice by which mediums establish the basis of a favourable assessment of the authenticity of their powers. The analysis examines the recurrent organizational properties of utterances in which the spirits' words are introduced into the sitting, and describes some of the inferential or rhetorical tasks addressed by these reports. (shrink)

Este libro es el resultado del trabajo póstumo de compilación y selección de los papeles de Collingwood.

Comparative ethics raises theoretical and methodological problems important for all ethical studies. Five essays in this focus section provide introductions to the ethics of specific indigenous cultures and suggest implications for further comparative studies. In this introduction, we review these findings and discuss their relevance to the concept of ethical naturalism which we have previously offered as a basis for comparative work.

Previous research into the perception of agency has found that objects in twodimensional displays that move along non-inertial-looking paths are frequently attributed intentional agency, including beliefs and desires. The present experiment re-addressed this finding using a tangible, interactive, electromagnetic puzzle. The experimental manipulation was whether or not participants controlled the electromagnet that moved the marbles along unexpected trajectories. Thirty-one college undergraduates participated. Participants who lacked control over the movement of the marbles were significantly more likely to attribute agency to the (...) marbles. Participants in control of the display rarely attributed intentional agency to the marbles. Implications are discussed for the identification of agents in the real world. (shrink)

In this introductory essay, the authors develop implications for ethical theory which relate to the three studies of cosmogony and ethics in the Focus articles by Guberman, Campany, and Read. They suggest that the dialogue between theory and description which Green and C. Reynolds urge in their Focus article should be understood as a search for adequate forms of ethical theory that must go on in both ethics and comparative studies, as well as in interdisciplinary conversations between them. In considering (...) the descriptive studies in this focus section, and in the collection "Cosmogony and Ethical Order," the authors conclude that the type of ethical theory which will prove most useful for further studies in comparative ethics will be a form of ethical naturalism. (shrink)

Situation Theory grew out of attempts by Jon Barwise in the late 1970s to provide a semantics for 'naked-infinitive' perceptual reports such as 'Claire saw Jon run'. Barwise's intuition was that Claire didn't just see Jon, an individual, but Jon doing something, a situation. Situations are individuals having properties and standing in relations. A theory of situations would allow us to study and compare various types of situations or situation-like entitles, such as facts, events, and scenes. One of the central (...) themes of situation theory of meaning and reference should be set within a general theory of information, one moreover that is rich enough to do justice to perception, communication, and thought. By now many people have contributed by the need to give a rigorous mathematical account of the principles of information that underwrite the theory. (shrink)

A situated observer is an observer as modeled within the world characterized by one’s physical theory. A physical theory arguably only makes empirical predictions if it makes predictions for the records of a situated observer. In this spirit, one has a satisfactory solution to the measurement problem only if one has a formulation of quantum mechanics that makes the right empirical predictions for the records of a situated observer. Bohmian mechanics addresses the measurement problem by explaining what measurement records are, (...) how a situated observer might produce them, and why a situated observer should expect the standard quantum predictions. The notion of an effective wave function is crucial in understanding how the theory makes empirical predictions. (shrink)

in the context of neville’s other work, the first thing to say about this book is that its main topic, the metaphysics of goodness, carries forward one of the major themes of his entire philosophical corpus, starting with his first article “Man’s Ends,” published in 1962. Together with his ontological theory of creation ex nihilo, Neville’s axiological-relational metaphysics—his metaphysics of harmony—is what most distinguishes his thought and unifies it as a system. Moreover, for Neville, axiology and ontology are integrally related (...) topics. My focus here, however, will be on his axiology.Within the context of modern thought, Neville’s insistence on the reality of goodness is enough to mark him as an outlier, but... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 21-40 [Access article in PDF] Unifying the Curriculum with an Art Exhibition:In the American Grain Terry Barrett This is an account of a whole-school faculty designing and teaching a five-month whole-school curriculum based on an exhibit of modern American art, In the American Grain, in a public school in the Pacific Northwest, grades 6-12. This account is a case-study of a (...) successful attempt of teachers, students, and administrators at one school, in one time and place, unifying the whole curriculum by having an art exhibit at the center of learning. The account is given through many voices, especially those of the students in the school who participated in the curriculum, and the teachers who invented it. I served the school as a faculty advisor and thus the telling is in the voice of a participant-observer but I rely heavily on the experiences of the participants and their ways of telling. The students and teachers are unabashedly enthused about what they were able to accomplish in teaching and learning, and are eager to share their experiences with other learningcommunities. This account begins with a short history of the recently founded school and an overview of its curricular mission. It proceeds with students telling about projects they did and their experiences of the curriculum, which evolved around In the American Grain; teachers talking about their experiences with the curriculum; and the founding principal's responses to the curriculum. It ends with my observations and conclusions. I hope that this account might encourage other educators to initiate their own attempts at school reform by placing the arts at the center of the curriculum. The School Vancouver School of Arts and Academics opened in September of 1996 with 525 middle and high school students (grades 6-11 with 12th grade added the following year) in a renovated building originally constructed as a high school in 1928. 2 The school has a new theater, recording studio, rehearsal rooms, and art studios. The school is dedicated to "the dual mission [End Page 21] of academic rigor and artistic excellence," with an evolving curriculum in which all areas of study (math, science, language arts, and social studies) and a full spectrum of arts disciplines (music, theater, dance, moving imagery, literature, and visual arts) are focused around artistic themes taught through interdisciplinary approaches. 3All students attend the school full-time. The mornings are devoted to "academics," subjects that are team-taught to "core groups" of students of combined grades (6-7-8, 9-10, 11-12) and the afternoons consist of three hours of arts instruction in elected classes of mixed-age students. There are four teachers for each core of about 100 students. Teaching and learning is project-based, interdisciplinary, on an art-centered school theme pre-selected for the year by the faculty. In selecting its theme for a year, the faculty follows the state of Washington's pattern for social studies concentrating one year on world history, the next on United States history, and the next on state history. The faculty also privileges an art form for the year: year one is visual arts; year two, music; year three drama; and so forth. Theme-related projects are conducted by students working individually or in small groups of two to three, and are usually teacher-suggested at the junior high level and student-initiated at the senior high level.Students enroll from all areas of the Vancouver school district and neighboring districts. 4 Students and their parents are interviewed and students are selected for the school on the basis of a demonstrated interest in the arts, not on portfolios or auditions, nor on the basis of special designations such as "gifted and talented." Most of the students are from working-class families, and most students graduating from the school go on to college.All faculty members applied to teach at the school, and all have personal interest and expertise in one or more art forms. For example, Mr... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 21-40 [Access article in PDF] Unifying the Curriculum with an Art Exhibition:In the American Grain Terry Barrett This is an account of a whole-school faculty designing and teaching a five-month whole-school curriculum based on an exhibit of modern American art, In the American Grain, in a public school in the Pacific Northwest, grades 6-12. This account is a case-study of a (...) successful attempt of teachers, students, and administrators at one school, in one time and place, unifying the whole curriculum by having an art exhibit at the center of learning. The account is given through many voices, especially those of the students in the school who participated in the curriculum, and the teachers who invented it. I served the school as a faculty advisor and thus the telling is in the voice of a participant-observer but I rely heavily on the experiences of the participants and their ways of telling. The students and teachers are unabashedly enthused about what they were able to accomplish in teaching and learning, and are eager to share their experiences with other learningcommunities. This account begins with a short history of the recently founded school and an overview of its curricular mission. It proceeds with students telling about projects they did and their experiences of the curriculum, which evolved around In the American Grain; teachers talking about their experiences with the curriculum; and the founding principal's responses to the curriculum. It ends with my observations and conclusions. I hope that this account might encourage other educators to initiate their own attempts at school reform by placing the arts at the center of the curriculum. The School Vancouver School of Arts and Academics opened in September of 1996 with 525 middle and high school students (grades 6-11 with 12th grade added the following year) in a renovated building originally constructed as a high school in 1928. 2 The school has a new theater, recording studio, rehearsal rooms, and art studios. The school is dedicated to "the dual mission [End Page 21] of academic rigor and artistic excellence," with an evolving curriculum in which all areas of study (math, science, language arts, and social studies) and a full spectrum of arts disciplines (music, theater, dance, moving imagery, literature, and visual arts) are focused around artistic themes taught through interdisciplinary approaches. 3All students attend the school full-time. The mornings are devoted to "academics," subjects that are team-taught to "core groups" of students of combined grades (6-7-8, 9-10, 11-12) and the afternoons consist of three hours of arts instruction in elected classes of mixed-age students. There are four teachers for each core of about 100 students. Teaching and learning is project-based, interdisciplinary, on an art-centered school theme pre-selected for the year by the faculty. In selecting its theme for a year, the faculty follows the state of Washington's pattern for social studies concentrating one year on world history, the next on United States history, and the next on state history. The faculty also privileges an art form for the year: year one is visual arts; year two, music; year three drama; and so forth. Theme-related projects are conducted by students working individually or in small groups of two to three, and are usually teacher-suggested at the junior high level and student-initiated at the senior high level.Students enroll from all areas of the Vancouver school district and neighboring districts. 4 Students and their parents are interviewed and students are selected for the school on the basis of a demonstrated interest in the arts, not on portfolios or auditions, nor on the basis of special designations such as "gifted and talented." Most of the students are from working-class families, and most students graduating from the school go on to college.All faculty members applied to teach at the school, and all have personal interest and expertise in one or more art forms. For example, Mr... (shrink)