Adaptationism is often taken to be the thesis that most traits are adaptations. In order to assess this thesis, it seems we must be able to establish either an exhaustive set of all traits or a representative sample of this set. Either task requires a more systematic and principled way of individuating traits than is currently available. Moreover, different trait individuation criteria can make adaptationism turn out true or false. For instance, individuation based on natural selection may render adaptationism true, (...) but may do so by presupposing adaptationism. In this paper, we show how adaptationism depends on trait individuation and that the latter is an open and unsolved problem. (shrink)

Despite the fact that the role of learning is recognised in empirical and theoretical work on sense of agency , the nature of this learning has, rather surprisingly, received little attention. In the present study we consider the contribution of associative mechanisms to SoA. SoA can be measured quantitatively as a temporal linkage between voluntary actions and their external effects. Using an outcome blocking procedure, it was shown that training action–outcome associations under conditions of increased surprise augmented this temporal linkage. (...) Moreover, these effects of surprise were correlated with schizotypy scores, suggesting that individual differences in higher level experiences are related to associative learning and to its impact on SoA. These results are discussed in terms of models of SoA, and our understanding of disrupted SoA in certain disorders. (shrink)

Experientialism in aesthetics is the view that the artistic merit or the aesthetic value of something is determined by the final value of certain experiences of it. These are usually specified as experiences of it with understanding and appreciation. Until recently, experientialism was the dominant view. Not anymore. Experientialists are now subject to a barrage of objections, many of which they have not answered. Here I argue that all of these objections fail. I develop a new form of experientialism that (...) is immune to them. It also has an independent rationale. It incorporates an account of the value of art appreciation that is plausible in its own right. And it endorses many of the core insights of anti-experientialists, especially concerning the final value of good art. Those of us unconvinced by experientialism need to take this form of it seriously. I conclude by identifying some genuine problems it faces. Even these aren’t clearly insoluble. (shrink)

We hypothesize that aspects of animal multicellularity originated before the divergence of metazoans from fungi and social amoebae. Polarized epithelial tissues are a defining feature of metazoans and contribute to the diversity of animal body plans. The recent finding of a polarized epithelium in the non‐metazoan social amoeba Dictyostelium discoideum demonstrates that epithelial tissue is not a unique feature of metazoans, and challenges the traditional paradigm that multicellularity evolved independently in social amoebae and metazoans. An alternative view, presented here, is (...) that the common ancestor of social amoebae, fungi, and animals spent a portion of its life cycle in a multicellular state and possessed molecular machinery necessary for forming an epithelial tissue. Some descendants of this ancestor retained multicellularity, while others reverted to unicellularity. This hypothesis makes testable predictions regarding tissue organization in close relatives of metazoans and provides a novel conceptual framework for studies of early animal evolution.Editor's suggested further reading in BioEssays Searching for Eve: Basal metazoans and the evolution of multicellular complexity Abstract. (shrink)

The Critical Imagination is a study of metaphor, imaginativeness, and criticism of the arts. Since the eighteenth century, many philosophers have argued that appreciating art is rewarding because it involves responding imaginatively to a work. Literary works can be interpreted in many ways; architecture can be seen as stately, meditative, or forbidding; and sensitive descriptions of art are often colourful metaphors: music can 'shimmer', prose can be 'perfumed', and a painter's colouring can be 'effervescent'. Engaging with art, like creating it, (...) seems to offer great scope for imagination. Hume, Kant, Oscar Wilde, Roger Scruton, and others have defended variations on this attractive idea. In this book, James Grant critically examines it. The first half explains the role imaginativeness plays in criticism. To do this, Grant answers three questions that are of interest in their own right. First, what are the aims of criticism? Is the point of criticizing a work to evaluate it, to explain it, to modify our response to it, or something else? Second, what is it to appreciate art? Third, what is imaginativeness? He gives new answers to all three questions, and uses them to explain the role of imaginativeness in criticism. The book's second half focuses on metaphor. Why are some metaphors so effective? How do we understand metaphors? Are some thoughts expressible only in metaphor? Grant's answers to these questions go against much current thinking in the philosophy of language. He uses these answers to explain why imaginative metaphors are so common in art criticism. The result is a rigorous and original theory of metaphor, criticism, imaginativeness, and their interrelations. (shrink)

The aim of this paper is to explain why creativity is an artistic merit. Artworks and non-artworks can both be creative. But creativity does not help make many other creative things good of their kind. A creative explanation is not a better explanation in virtue of being creative. Why, then, is a creative artwork a better artwork in virtue of being creative? Understanding this will give us a better understanding of the nature of artistic merit. The approach adopted in this (...) paper is as follows. First, I say what creativity is and what an artistic merit is. Second, I identify reasons to doubt that creativity is an artistic merit. A good explanation of the merit of creativity should address these doubts. Third, I develop a theory of artistic merit that appeals to the final value of acting excellently – for example, virtuously or skilfully. Finally, I argue that this enables us to explain why creativity is an artistic merit. This account also enables us to argue that artistic merits give some things final value, and not merely instrumental value. It also provides reason to believe that ethical qualities of artworks enhance their artistic merit for the same reason creativity does. (shrink)

An increasingly popular view in the philosophy of art is that some artworks are good artworks at least partly because they are achievements. This view was introduced to explain why two works that look the same, such as an original painting and a perfect copy, can differ in artistic merit. An achievement theory can say that the original is better because it is a greater achievement. Achievement theories have since been used to answer other questions, and they are now a (...) serious alternative to traditional theories of artistic merit. This paper has three aims. The first is to articulate the achievement theory more fully and explicitly than its advocates have. The second is to show that the achievement theory should be rejected, by raising five problems for it. The third is to show that appealing solely to the excellence, aptitude, and ineptitude a work manifests yields a better theory of artistic merit. (shrink)

According to some, when you do the right thing, your moral beliefs make no difference to your act’s moral worth. Huckleberry Finn believes he is doing something wrong in helping Jim escape slavery. Yet his act reflects well on him. Some conclude that acting rightly reflects just as well on you whether you believe you are doing something right, wrong, supererogatory, or neutral. I argue against this. Doing the right thing with certain moral beliefs can diminish the moral worth of (...) doing it. In such cases, you do the right thing in the wrong spirit. (shrink)

Grammatical Evolution (GE) has a long history in evolutionary computation. Central to the behaviour of GE is the use of a linear representation and grammar to map individuals from search spaces into problem spaces. This genotype to phenotype mapping is often argued as a distinguishing property of GE relative to other techniques, such as context-free grammar genetic programming (CFG-GP). Since its initial description, GE research has attempted to incorporate information from the grammar into crossover, mutation, and individual initialisation, blurring the (...) distinction between genotype and phenotype and creating GE variants closer to CFG-GP. This is argued to provide GE with the "best of both worlds", allowing degrees of grammatical bias to be introduced into operators to best suit the given problem. This paper examines the behaviour of three grammar-based search methods on several problems from previous GE research. It is shown that, unlike CFG-GP, the performance of "pure" GE on the examined problems closely resembles that of random search. The results suggest that further work is required to determine the cases where the "best of both worlds" of GE are required over a straight CFG-GP approach. (shrink)

A growing literature testifies to the persistence of place as an incorrigible aspect of human experience, identity, and morality. Place is a common ground for thought and action, a community of experienced particulars that avoids solipsism and universalism. It draws us into the philosophy of the ordinary, into familiarity as a form of knowledge, into the wisdom of proximity. Each of these essays offers a philosophy of place, and reminds us that such philosophies ultimately decide how we make, use, and (...) understand places, whether as accidents, instruments, or fields of care. (shrink)

The aim of this paper is to explain why imaginativeness is valuable. Recent discussions of imaginativeness or creativity (which I regard as the same property) have paid relatively little attention to this important question. My discussion has three parts. First, I elucidate the concept of imaginativeness by providing three conditions a product or act must satisfy in order to be imaginative. This account enables us to explain, among other things, why imaginativeness is associated with inspiration, why it is associated with (...) the faculty of imagination, and why it is relative to persons and to contexts. Second, in the light of this account, I say what the imaginativeness of persons is. Philosophical discussions of the imaginativeness of persons usually treat it as a capacity. In fact, it is a tendency or disposition of a certain kind. Third, I give reasons why the imaginativeness of persons has the value it does. I begin by saying what the basic facts about its value are. When a person's imaginativeness is valuable, it is either (i) a good thing about a person, (ii) good for the person, or (iii) good for others. I provide explanations of each of these facts. I conclude by addressing the difficult question of whether a person's imaginativeness is non-instrumentally good for her. On Romantic and Romantic-inspired views, imaginativeness is non-instrumentally good for a person because of its connection with self-realization. I reject this claim. However, I argue that, often, imaginativeness is indeed non-instrumentally good for the imaginative person. (shrink)

In a recent paper, Nicholas Stang argues that artworks are not valuable for their own sake in virtue of their artistic value, artworks have artistic value in virtue of the final value of the experiences they afford, and the only appropriate objects of appreciation are worktypes. All of these arguments rest on claims about the artistic value of copies of artworks that provide a radical challenge to the views that many philosophers have about copies. Here I argue that Stang's arguments (...) are unsuccessful. The argument for is mistaken about what one is committed to if one thinks artworks are valuable for their own sake in virtue of their artistic value. The defense of fails to explain what it is supposed to explain. The argument for overgeneralizes from one kind of case. Finally, the basic claim Stang makes about the artistic value of copies is false. I defend an alternative view. I conclude by discussing the implications of my arguments for experientialism ). Reflection on the cases Stang considers, far from leading us to embrace experientialism, in fact reveals problems that experientialists need to confront. (shrink)

Many philosophers claim that metaphor is indispensable for various purposes. What I shall call the ‘Indispensability Thesis’ is the view that we use at least some metaphors to think, to express, to communicate, or to discover what cannot be thought, expressed, communicated, or discovered without metaphor. I argue in this paper that support for the Indispensability Thesis is based on several confusions. I criticize arguments presented by Stephen Yablo, Berys Gaut, Richard Boyd, and Elisabeth Camp for the Indispensability Thesis, and (...) distinguish it from several plausible claims with which it is easily confused. Although I do not show that the thesis is false, I provide seven grounds for suspicion of our sense (if we have it) that some metaphors are indispensable for the purposes claimed by advocates of the Indispensability Thesis. (shrink)

The prevalence of colourful metaphors and figurative language in critics’ descriptions of artworks has long attracted attention. Talk of ‘liquid melodies’, ‘purple prose’, ‘soaring arches’, and the use of still more elaborate figurative descriptions, is not uncommon. My aim in this paper is to explain why metaphor is so prevalent in critical description. Many have taken the prevalence of art-critical metaphors to reveal something important about aesthetic experience and aesthetic properties. My focus is different. I attempt to determine what metaphor (...) enables critics to achieve and why it is so well suited to helping them achieve it. I begin by outlining my account of what metaphors communicate and defend it against objections to the effect that it does not apply to art-critical metaphors. I then distinguish between two kinds of art-critical metaphor. This distinction is not normally drawn, but drawing it is essential to understanding why critics use metaphor. I then explain why each kind of metaphor is so common in criticism. (shrink)

If rapid growth (rap) mutants of Escherichia coli could be obtained, these might prove a valuable contribution to fields as diverse as growth rate control, biotechnology and the regulation of the bacterial cell cycle. To obtain rap mutants, a dnaQ mutator strain was grown for four and a half days continuously in batch culture. At the end of the selection period, there was no significant change in growth rate. This result means that selecting rap mutants may require an alternative strategy (...) and a number of such alternatives are discussed. (shrink)

The chin, a distinguishing feature of Homo sapiens, has sparked ongoing debates regarding its evolutionary origins and adaptive significance. We contend that these controversies stem from a fundamental disagreement about what constitutes a well-defined biological trait, a problem that has received insufficient attention despite its recognized importance in biology. In this paper, we leverage paleoanthropological research on the human chin to investigate the general issue of character or trait identification. First, we examine four accounts of the human chin from the (...) existing literature: the mandibular differential growth byproduct, the bony prominence, the inverted T-relief, and the symphyseal angle. We then generalize from these accounts and propose a three-stage framework for the process of character identification: description, detection, and justification. We use this framework to reinterpret the four accounts, elucidating key points of contention surrounding the chin as well as other morphological characters. We show that debates over the chin carry broad and important biological implications that extend beyond this trait and that are not mere semantic issues of definition. (shrink)

The themes, problems and challenges of developmental systems theory as described in Cycles of Contingency are discussed. We argue in favor of a robust approach to philosophical and scientific problems of extended heredity and the integration of behavior, development, inheritance, and evolution. Problems with Sterelny's proposal to evaluate inheritance systems using his `Hoyle criteria' are discussed and critically evaluated. Additional support for a developmental systems perspective is sought in evolutionary studies of performance and behavior modulation of fitness.

Entrapment is defined and distinguished from related law enforcement practices. The subjective test of entrapment formulated by the Supreme Court and the objective test proposed by critics are discussed and evaluated. The argument is advanced that entrapment is a morally unjustifiable practice which is inconsistent with the rights of citizens in a democratic society. Guidelines are proposed for governing police conduct in potential entrapment situations and suggestions made regarding ways these guidelines might be implemented.

This paper describes a new course in Medical Technology and Critical Decisions, part of the Technology Studies Program at Wellesley College, established with the support of the Alfred P. Sloan Foundation's New Liberal Arts Program. The course uses the dramatic new options in medicine presented by technology to individuals and society as a vehicle for promoting general technological literacy in liberal arts students. The course motivates the study of the scientific principles on which the technology rests and the mathematical principles (...) of a methodology for making rational choices. A case in point is the decision of a pregnant woman whether or not to undergo amniocentesis, a procedure used to determine the genetic make-up of a fetus from cells in the amniotic fluid. The course introduces students to the underlying notions of genetics; the physical principles behind the ultrasound imaging technique used to position the needle that draws the fluid; the probability and statistics needed to understand the risks to the woman and fetus both of having and of not having the procedure; and the methodology of decision analysis, increasingly used by genetic counselors to help prospective parents incorporate their personal values into the decision-making process. (shrink)

This study evaluates responses to the Real Estate Ethical Code. Voice Stress Analysis (VSA) is used to evaluate the responses of real estate sales people to ethically-based questions. The process and the responses given enabled the authors to gain insight into pressure-causing ethical situations and to explore new uses of VSA. Some respondents were stressed while following the ethical code guidelines. Others showed no stress about breaking the formal code. The study reaffirms that the presence of formal ethical guidelines does (...) not assure that the rules will be willingly followed. (shrink)

When I was Dickinson Miller's assistant from 1940 to 1942, I soon realized that I had encountered an unusually powerful, acute, and original mind and a writer whose clear but vivid style matched the high quality of his intelligence. These traits were apparent in his comments about eminent philosophers with whom he had associated - particularly William James but also Santayana, Dewey, Husserl, and Wittgenstein - and in the mutual criticism he demanded of his writing and my first (...) efforts. I was pleased and felt immensely privileged to share in his planning of a book devoted to "analysis, the method of philosophy at work" as in his articles on the knowledge-problem, induction, and free will. In view of the penetration of his articles, such a book seemed long overdue as James had insisted even in 1905. When Miller's projected book on "analysis at work" did not appear by 1956, I consulted him about putting together a collection of his published essays. Such a collection seemed but slight homage to one who had made such a striking contribution to American philosophy in rela tion to James and one from whom I had learned so much. He felt, however, that such a collection would be inappropriate and preferred to concentrate on a book, never finished, on "the principles of practical intelligence", the application of intelligence in a "morality of results" for human welfare. (shrink)

This collection of essays marks the fiftieth anniversary of the publication of Frantz Fanon’s classic study of anticolonial struggle, _The Wretched of the Earth_. Scholars explore the relevance of Fanon’s work for current modes of psychoanalysis, postcolonial theory, and political thought. One contributor reposes a classic question of postcolonial scholarship: what does it mean for a colonial Caribbean man to practice a Continental intellectual tradition? Others identify Fanon’s experiences working at a mental institution in colonial French Algeria as a powerful (...) influence on his psychoanalytic perspective. This issue revitalizes Fanon’s canonical status as Third World theorist by asserting that the main imperatives of Fanon’s work remain as urgent as ever: combating the psychic and physical violence of colonialism, achieving real forms of liberation for colonized peoples, and ending the degradation of people of color. Contributors: Matthew Abraham, Gerard Aching, John E. Drabinski, Grant Farred, Nigel C. Gibson, Priyamvada Gopal, Joy James, Ranjana Khanna, Alfred J. López, Miguel Mellino, Simon Morgan Wortham, Richard Pithouse Grant Farred is Professor of Africana Studies and English at Cornell University. He is the former editor of the _South Atlantic Quarterly_ and the author, most recently, of_ Long Distance Love: A Passion for Football_. (shrink)

Hundreds of books have been written about Deleuze, but although many prominent philosophers and schools of philosophy have inherited from him, no single philosopher has emerged as the primary inheritor of Deleuze’s project. The Belgian philosopher Isabelle Stengers could serve as one conceptual persona among others playing such a role. Stengers refers to Deleuze in all but one of her fourteen books which have so far been translated into English, especially in The Invention of Modern Science, Cosmopolitics and Thinking with (...) Whitehead, and this article ‘thinks with’ Stengers as she thinks with Deleuze through most of her references to his work over four decades. (shrink)

Experiential evidence shows that pain is associated with common meanings. These include a meaning of threat or danger, which is experienced as immediately distressing or unpleasant; cognitive meanings, which are focused on the long-term consequences of having chronic pain; and existential meanings such as hopelessness, which are more about the person with chronic pain than the pain itself. This interdisciplinary book - the second in the three-volume Meanings of Pain series edited by Dr Simon van Rysewyk - aims to better (...) understand pain by describing experiences of pain and the meanings these experiences hold for the people living through them. The lived experiences of pain described here involve various types of chronic pain, including spinal pain, labour pain, rheumatic pain, diabetic peripheral neuropathic pain, fibromyalgia, complex regional pain syndrome, endometriosis-associated pain, and cancer-related pain. Two chapters provide narrative descriptions of pain, recounted and interpreted by people with pain. Language is important to understanding the meaning of pain since it is the primary tool human beings use to manipulate meaning. As discussed in the book, linguistic meaning may hold clues to understanding some pain-related experiences, including the stigmatisation of people with pain, the dynamics of patient-clinician communication, and other issues, such as relationships between pain, public policy and the law, and attempts to develop a taxonomy of pain that is meaningful for patients. Clinical implications are described in each chapter. This book is intended for people with pain, their family members or caregivers, clinicians, researchers, advocates, and policy makers. (shrink)

fusion theory challenges efforts to see theory as inhibiting by presenting an approach that is innovative, eclectic, and subtle in order to draw out competing and constellating ideas and opinions. This collected volume of essays examines fusion theory and demonstrates how the theory can be applied to the reading of various works of Indian English novelists.