To be human is to imitate. This is a strong claim, and a contentious one. It implies that the turning point in hominid evolution was when our ancestors first began to copy each other’s sounds and actions, and that this new ability was responsible for transforming an ordinary ape into one with a big brain, language, a curious penchant for music and art, and complex cumulative culture. The argument, briefly, is this. All evolutionary processes depend on information being copied with (...) variation and selection. Most living things on earth are the product of evolution based on the copying, varying and selection of genes. However, once humans began to imitate they provided a new kind of copying and so let loose an evolutionary process based on the copying, varying and selection of memes. This new evolutionary system co-evolved with the old to turn us into more than gene machines. We, alone on this planet, are also meme machines. We are selective imitation devices in an evolutionary arms race with a new replicator. This is why we are so different from other creatures; this is why we alone have big brains, language and complex culture. There are many contentious issues here; the nature and status of memes, the validity of the concept of a replicator, the difference between this and other theories of gene-culture co-evolution, and whether memetics really is necessary, as I believe it is, to explain human nature. I shall outline the basic principles of memetics, show how memes could have driven human evolution, and consider some of these questions along the way. (shrink)

Memes are not best understood as semantic information stored in brains, but rather, as whatever is imitated or copied in culture. Whereas other theories treat culture as an adaptation, for memetics it is a parasite turned symbiont that evolves for its own sake. Memetics is essential for understanding today's information explosion and the future evolution of culture. (Published Online November 9 2006).

Also published in 1998 in S.R.Hameroff, A.W.Kaszniak and .C.Scott (Eds) _Toward a Science of_ _Consciousness II._ MIT Press. 701-707. Note that there were problems with the editing of this volume and there are some misprints. This version is correct.

Is there a theory that explains the essence of consciousness? Or is consciousness itself just an illusion? The "last great mystery of science," consciousness was excluded from serious research for most of the last century but is now a rapidly expanding area of study for students of psychology, philosophy, and neuroscience. Recently the topic has also captured growing popular interest. This groundbreaking book is the first volume to bring together all the major theories of consciousness studies--from those rooted in traditional (...) Western philosophy to those coming out of neuroscience, quantum theory, and Eastern philosophy. Broadly interdisciplinary, Consciousness: An Introduction is divided into nine sections that examine such topics as how subjective experiences arise from objective brain processes, the basic neuroscience and neuropathology of consciousness, altered states of consciousness, mystical experiences and dreams, and the effects of drugs and meditation. It also discusses the nature of self, the possibility of artificial consciousness in robots, and the question of whether or not animals are conscious. Enhanced by numerous illustrations and profiles of important researchers, the book also includes self-assessment questions, further reading suggestions, and practical exercises that help bring the subject to life. (shrink)

Throughout history there have been people who say it is all illusion. I think they may be right. But if they are right what could this mean? If you just say "It's all an illusion" this gets you nowhere - except that a whole lot of other questions appear. Why should we all be victims of an illusion, instead of seeing things the way they really are? What sort of illusion is it anyway? Why is it like that and not (...) some other way? Is it possible to see through the illusion? And if so what happens next. (shrink)

A study of the published and unpublished parts of Ernst Mach's last notebook (1910–14) suggests that Max Planck's attack (1908–11) provoked Mach into opposing ‘The Church of Physics’ more strongly than previously realized. Shortly after Mach threatened to leave the discipline if belief in atoms were required. Albert Einstein tried to persuade him to accept atomism (September 1910). Mach declined to mention Einstein again in his publications and increasingly criticized ‘The Church of Physics’. Evidence that Mach opposed relativity theory and (...) the absence of evidence that he favored it is pointed out. It is suggested that Mach's alleged ‘friendly interest’ in Einstein's work in early 1914 may have been stimulated by the hope that the young genius might develop a continuum or field theory to refute Planck's discontinuity physics. The paper concludes with suggestions on how philosophers who defend Mach's non-realism such as Gereon Wolters and Paul Feyerabend might be better off switching to a realist epistemology more compatible with rationally-held science, religion, and common sense. (shrink)

This paper is an attempt to clarify why Ludwig Boltzmann from about 1895 to 1905 seemed to adopt a series of extreme epistemological positions, ranging from phenomenalism to pragmatism, while emphatically rejecting what he called ‘metaphysics’ (by which he meant all traditional philosophy). He concluded that all philosophical differences were merely linguistic and most were ultimately meaningless. But at about the time that young Ludwig Wittgenstein began absorbing these desperate ideas (1905), Boltzmann himself under the influence of Franz Brentano seemed (...) to assume a type of representationalism about the external physical world, while in his own mind adopting it for pragmatic reasons. Why? Because “it worked”. He seems to have defended his non-representationalist Bildtheorie on similar grounds, but his suicide followed shortly (1906). (shrink)

This chapter contains sections titled: Introduction Origins of the Meme Meme Do Memes Exist? Trouble with Analogies and Units What is a Meme? A New Replicator or Culture on a Leash? Do Memes have Memotypes? Old Genes, New Memes Religions, Cults, and Viral Information Human Evolution Consciousness, Creativity, and the Nature of Self Conclusion Postscript: Counterpoint References.

Conversations on Consciousness is just that - a series of twenty lively and challenging conversations between Sue Blackmore and some of the world's leading philosophers and scientists. Written in a colloquial and engaging style the book records the conversations Sue had when she met these influential thinkers, whether at conferences in Arizona or Antwerp, or in their labs or homes in Oxford or San Diego. The conversations bring out their very different personalities and styles and reveal a wealth of (...) fascinating detail about their theories and beliefs. Why is consciousness such a special and difficult issue for twenty-first century science? Sue, herself a researcher into this controversial and difficult topic, begins by asking each of her colleagues this simple question and is immediately plunged into the depths of the debate: How do the subjective experiences we call consciousness arise from the physical brain? Is this even the right question to ask? Can zombies - people who behave outwardly just like others but have no inner mental life - exist? What can dreams tell us about consciousness? Should we all be learning to meditate? Do we have free will, and if not is it possible to live without it? With an introduction setting out the broad structure of the debate on consciousness, and an extensive glossary, this book provides an engaging and accessible account of the most challenging problem of all, through the words of some of the leading figures involved in seeking to solve it. (shrink)

Human beings are strange animals. Although evolutionary theory has brilliantly accounted for the features we share with other creatures—from the genetic code that directs the construction of our bodies to the details of how our muscles and neurons work—we still stand out in countless ways. Our brains are exceptionally large, we alone have truly grammatical language, and we alone compose symphonies, drive cars, eat spaghetti with a fork and wonder about the origins of the universe.

In the late 20th and early 21st centuries, increased computing power has made possible extraordinary leaps in film special effects. This article argues that special effects developed since the beginning of digital animation, when coupled with standard editing room techniques (jump cuts, cutaways), have brought us to an era where the eye cannot keep pace with on-screen events. It is arguable that video gamers are best equipped to handle the visual overload produced by action films' effects. The article enumerates a (...) series of techniques used in current action films to bring about visual excess that has an upsetting, exciting, overwhelming somatic effect on the viewer; these same effects are indispensable for the success of contemporary blockbuster action movies. Following theorist Paul Virilio's arguments, this article suggests that a machine ideology drives the perceptual system to dizzying limits, resulting in the “speed death of the eye.”. (shrink)

Written in a colloquial and engaging style the book records the conversations Sue had when she met these influential thinkers, whether at conferences in Arizona ...

The primary purpose of the paper is to try to prove that it is impossible to write or understand history without making epistemological and ontological assumptions, In particular assumptions about whether physical objects and processes are within or beyond the limits of what can be made empirical or conscious.

Exploring the Illusion of Free Will and Moral Responsibility is an edited collection of new essays by an internationally recognized line-up of contributors. It is aimed at readers who wish to explore the philosophical and scientific arguments for free will skepticism and their implications.

In lieu of an abstract, here is a brief excerpt of the content:Imagining the Moor in Medieval PortugalJosiah Blackmore (bio)For medieval Portugal, Africa was familiar and strange, a known place across the modest parcel of the Mediterranean between the Algarve and Ceuta, and, farther south, an unknown expanse of land that glimmered black under the equatorial sun. And for Portugal, like for Spain, Africa was part of the demographics and history of Iberian culture in the figure of the Moor, (...) at once an “other” and a closer, more intimate presence. Jeffrey J. Cohen reminds us of the “cultural work” of the Saracen (one of the medieval terminological possibilities for “Moor”), “whose dark skin and diabolical physiognomy were the western Middle Ages’ most familiar, most exorbitant embodiment of racial alterity” [189]. Cohen argues, therefore, that the Saracen (grosso modo) existed in a network of literary and ideological productions of western Europe; in the case of Iberia, the Moor was sometimes but not always a Saracen and was both a figure of alterity and of familiarity and sameness, less an aprioristic other and more of a figure that could be variously othered as a marker of boundaries including “race,” spirituality, and sexuality. While this essay does not take on the idea of racial alterity per se, it does assume the notion that in the literary culture of Portugal blackness, in some manner, informed constructions of the Moor. My purpose here is to delineate an understanding of the Moor in medieval Portugal as a construct that resists easy categorizations as an undifferentiated figure of otherness, a consideration that culminates with the work of Gomes Eanes de Zurara (1410?–1474?), the first chronicler of Portuguese exploration into (west) Africa. To this end, I will briefly consider the Moor in representative examples from the livros de linhagens (genealogical books) and the cantigas d’escarnho e de mal dizer (poetry of mockery and insult, hereafter abbreviated CEM), not so much in order to trace a direct influence between these texts and the work of Zurara but to provide an idea of how the Moor was variously fashioned in earlier texts. The analysis here is not exhaustive nor conclusive but suggestive, and is meant to indicate how the Moor—and the idea of the Moor—in Portugal can add to critical conversations on the imaginative and ideological constructions of the Moor and of Africa and its inhabitants.The formulations of national and cultural identities in European texts of the Middle Ages and Renaissance1 that in some way engage Africa and the African have increasingly [End Page 27] and understandably become an object of interest among literary and cultural theorists. One of the advances in recent years of this critical work is the freeing of the Moor from the strictures of the “self/other” binary that permeated earlier scholarly work on Europeans and their others, especially in the field of imperial/colonial studies or in the study of the conflictive representations of Moors and Europeans in genres such as medieval epic.2 In the medieval field, Cohen’s work on the Saracen is one good example of this more theoretically suggestive approach, since Cohen explores the work of representation as it dovetails with the universalizing claims of psychoanalysis. Suzanne Conklin Akbari’s essay usefully reminds us that the medieval world considered itself as existing in three parts, thus making problematic modern applications of binaries as supposedly informing a medieval perception of “Asian Orient and European Occident” [20]. Other studies, though concerned with postmedieval literatures and histories, also explore the cultural work of the Moor. Such, for instance, is the case with Emily C. Bartels’s articles on the Moor in Shakespeare. Bartels charts the flexibilities and inconsistencies of the term “Moor” in Renaissance England [“Making More” 434], noting especially its “racial” claims. In analyzing the place of postcolonialism as it might inform critical work on Africa in the Renaissance, Bartels questions the model that postcolonial studies assumes as underlying its own practice by arguing that “[postcolonial critiques] continue … to recreate the history of silenced voices through only one model of cultural exchange: one in which European domination is both the motivating force and the inevitable outcome” [“Othello and Africa” 46].These representative studies of the Moor tag... (shrink)

Guns, slug-throwing weapons, have evolved as humans have increased their grasp of the mechanical arts. In the near future, however, it seems likely that soldiers' rifles operating at punishing cyclic rates of fire face the limits of physics and materials science— heat and speed will cost accuracy and distance. This article considers not only the near future of the personal weapon carried by soldiers in battlespace but also the rifle's evolution as an index of alterations in 20th-and 21st-century war fighting. (...) The arc traced by multiple-fire weapons, from the Gatling to the laser rifle, is a narrative of humans, machinery, and their cocreative symbiotic relationship. This article begins by examining some current examples of late-generation rifles and their imagined futures, continues by pursuing the linkages between guns and soldiers, and finally asks what new guns will mean for soldiers being born now. (shrink)

The Bush Administration's quiet resumption of, or initiation of new, nuclear weapons programs aimed militarizing space, and erecting a missile defense shield that would have the effect of rolling back 19 years of solid détente, has gone largely unnoticed over the last eight years. Weapons makers, government officials and politicians have expressed excitement at these new developments, despite the immediate stress loaded onto relations between the United States and Europe, particularly ex-Soviet satellite countries. This paper revisits arguments about nuclear weaponry (...) and the possibility for defense against and survival of a nuclear war. The paper considers the way new nuclear technologies are inherently determinist, and reflects on the threat of the apocalyptic world as seen in American author Cormac McCarthy's unflinching 2006 novel, The Road. (shrink)

Creating memory during and after wartime trauma is vexed by state attempts to control public and private discourse. Science fiction author Iain Banks’ novel Look to Windward proposes different ways of preserving memory and culture, from posthuman memory devices, to artwork, to architecture, to personal, local ways of remembering.

Jablonka & Lamb (J&L) reject but memetics can explain human uniqueness and culture (as a product of the ability to imitate) without depending on their slippery notion of symbolism. Modern memes show the beginnings of a division into replicators and vehicles, and the replacement of reconstructive processes with systems of blind copying, variation, and selection.

The sensorimotor theory of vision is the best attempt yet to explain visual consciousness without implying a Cartesian theatre. I suggest three experiments which might test the theory.

This paper is a collection of original source material for the use of all scholars interested in understanding Ernst Mach's life as an aid to comprehending his unique and controversial impact on the development of modern physics and both the history and philosophy of science. The documents are complete; and to encourage points of view other than my own, I have listed a number of very recent articles in my footnotes which reflect a wide spectrum of opinion on Ernst Mach (...) and the singular nature of his ideas. (shrink)

Consciousness, 'the last great mystery for science', has now become a hot topic. How can a physical brain create our experience of the world? What creates our identity? Do we really have free will? Could consciousness itself be an illusion? -/- Exciting new developments in brain science are opening up debates on these issues, and the field has now expanded to include biologists, neuroscientists, psychologists, and philosophers. This controversial book clarifies the potentially confusing arguments, and the major theories using illustrations, (...) lively cartoons, and experiments.Topics include vision and attention, theories of self and will, experiments on action and awareness, altered states of consciousness, and the effects of brain damage and drugs. (shrink)

The meme is an evolutionary replicator, defined as information copied from person to person by imitation. I suggest that taking memes into account may provide a better understanding of human evolution in the following way. Memes appeared in human evolution when our ancestors became capable of imitation. From this time on two replicators, memes and genes, coevolved. Successful memes changed the selective environment, favouring genes for the ability to copy them. I have called this process memetic drive. Meme-gene coevolution produced (...) a big brain that is especially good at copying certain kinds of memes. This is an example of the more general process in which a replicator and its replication machinery evolve together. The human brain has been designed not just for the benefit of human genes, but for the replication of memes. It is a selective imitation device. (shrink)

At the end of 2015‘s The Witch, isolated and beaten protagonist, Thomasin, ultimately rejects her puritanical upbringing to become a witch, accepting the invitation of the Devil (in the guise of the family’s goat Black Philip). This essay will discuss Thomasin’s sexual deliverance in terms of her turning away from the authoritarian ‘Law of the Father’ towards female liberation that comes in the form of the Witch. Thomasin transitions from girl to woman, but does not want to do so in (...) the restrictive Puritan fashion where patriarchy and oppression rules. She becomes a woman by embracing her sexuality in the figure of the witch and Black Philip as the figure of lust helping her become free. Western folklore posits the goat as a symbol of fertility, independence, and lust; Black Philip is a figure who represents a connection to wild desires. Therefore, Black Philip becomes not only a physical representation of the devil, but also a symbolic representation of Thomasin’s sexual desire. Drawing on theories of the monstrous-feminine (Creed, Kristeva, Arnold), the symbolism of folklore and Freud’s Electra complex, this work argues that, despite its message of feminine empowerment, The Witch cannot fully reject or escape patriarchal discourse. (shrink)

Entangled with the interconnected logics of coloniality and modernity, the landscape idea has long been a vehicle for ordering human-nature relations. Yet at the same time, it has also constituted a utopian surface onto which to project a space-time 'beyond' modernity and capitalism. Amid the advancing techno-capitalization of the living and its spatial supports in transgenic seed monopolies, fracking and deep sea drilling, biopiracy, geo-engineering, aesthetic-activist practices have offered particular kinds of insight into the epistemological, representational, and juridical framings of (...) the natural environment. This book asks in what ways have recent bio and eco-artistic turns moved on from the subject/object ontologies of the landscape-form? Moving from botanical explorations of early modernity, through the legacies of mid-twentieth century landscape design, up to artistic experimental recodings of New World nature in the 1960s and 1970s and to present struggles for environmental rights and against the precarization of the living, the critical essays and visual contributions included in Natura attempt to push thinking past fixed landscape forms through interdisciplinary encounters that encompass analyses of architectural sites and artworks; ecocritical perspectives on literary texts; experimental place-making practices; and the creation of material and visual ecologies that recognise the agency of non-human worlds. (shrink)

BackgroundInformed consent is an essential aspect in medical and surgical practice. Current guidelines from the UK General Medical Council and the Royal College of Surgeons of England do not give a...

Datafication of social life affects what society regards as knowledge. Jasanoff’s regimes of sight framework provides three ideal-type models of authorised knowing in environmental data practice. This paper applies Jasanoff's framework for analysing intelligence practice through an exploratory empirical study of crime and intelligence practitioners in a selection of police services in Australia, New Zealand, Canada and the United States. The paper argues that the ‘view from somewhere’ captures the essence of existing police intelligence practices in the four countries but (...) the ‘view from nowhere’ is emerging as a possible future for police intelligence – an approach promoted by technology companies and supported mainly by police leaders and managers. The paper investigates the challenges and limits of a shift by police from VFS to VFN in the production of intelligence; the challenges are primarily political, which threaten the dominance of police contextual knowledge over ‘scientific’ knowledge. These political challenges also have symbolic and material implications. The paper concludes that, because of these challenges, a complete shift from VFS to VFN is not likely to happen. At best the two models might co-exist with the latter subordinate to the imperatives of the former, resulting in further tension between sworn officers and civilians, organisational inertia, as well as technologies that may be under-utilised or abandoned. (shrink)