This book is an investigation of the relationship between self and body in the Indian, Japanese, and Chinese philosophical traditions. The interplay between self and body is complex and manifold, touching on issues of epistemology, ontology, social philosophy, and axiology. The authors examine these issues and make relevant connections to the Western tradition. The authors' allow the Asian traditions to shed new light on some of the traditional mind-body issues addressed in the West.

Caretaker-infant attachment is a complex but well-recognized adaptation in humans. An early instance of (or precursor to) attachment behavior is the dyadic interaction between adults and infants of 6 to 24 weeks, commonly called "babytalk." Detailed analysis of 1 minute of spontaneous babytalk with an 8-week infant shows that the poetic texture of the mother’s speech—specifically its use of metrics, phonetics, and foregrounding—helps to shape and direct the baby’s attention, as it also coordinates the partners’ emotional communication. We hypothesize that (...) the ability to respond to poetic features of language is present as early as the first few weeks of life and that this ability attunes cognitive and affective capacities in ways that provide a foundation for the skills at work in later aesthetic production and response. By linking developmental social processes with formal cognitive aspects of art, we challenge predominant views in evolutionary psychology that literary art is a superfluous byproduct of adaptive evolutionary mechanisms or primarily an ornament created by sexual selection. (shrink)

Aesthetics, like other philosophical subjects, has historically made use of «top down» methods. Recent discoveries in genetics, evolutionary psychology, paleoarchaeology, and neuroscience call for a new «naturalistic» or «bottom up» perspective. Combining these fields with behavioral biology and ethnoarts studies, I offer seven premises that underlie a new understanding of evolved predispositions of the brain/mind that all artists use to attract attention, sustain interest, and create, mold, and shape emotion. I describe aesthetic «primitives» in somatic and behavioral modalities, suggesting that (...) these were present in early sapiens and continue to influence human art making and aesthetic response today. Keywords: Aesthetic Mind; Neuroaesthetics, evolutionary aesthetics, cognitive aesthetics, evolution of art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 335-346 [Access article in PDF] Aesthetic Incunabula Ellen Dissanayake Incunabula n. pl. (f. L swaddling clothes, cradle): Early stages of development of a thing.Over the past thirty years, developmental psychologists have discovered remarkable cognitive abilities in young infants. Before these investigations, common pediatric wisdom accepted that apart from a few innate "reflexes"--for crying, suckling, clinging, startling--babies were pretty much tabulae rasae for their elders (...) to inscribe as they (and their cultures) decreed. Today, however, it is well established that newborns come into the world with decided preferences and motivations, so that one can speak intelligently of "neonatal" (or even "fetal") psychology. 1The demonstrable existence of inherent psychological capacities in newborns and infants has important implications for twenty-first-century literary theory, which--also over the past thirty years--has operated under the theoretical assumption that all knowledge and experience are mediated by culture and that there is therefore no "natural" psychological or emotional experience. Yet if, as infant psychology confirms, babies in every culture show the same or similar cognitive abilities and preferences and the same or similar motivations and emotional responses, it is necessary to modify the dogmatic assertion that all experience, including literary response, is socially constructed. Rather, adult psychology and experience grow from and build upon inborn motives and preferences. Literary theorists can no longer ignore contemporary knowledge in psychobiology, ethology, and evolutionary psychology that directly pertains to conceptualizing their subject.The innate capacities of newborns predispose them specifically for social and emotional interaction with others, not simply for soliciting [End Page 335] their physical care. For example, newborns prefer human faces to any other sight (high-contrast colors, cartoon characters, cute stuffed animals) and human voices to any other sound (soft music, tinkling bells, The Chipmunks). 2 They can imitate face, mouth, and hand movements and respond appropriately to another person's emotional expressions of sadness, fear, and surprise. 3 At birth, infants can estimate and anticipate intervals of time and temporal sequences and remember these temporal patterns, categorizing them both in time and space and in terms of affect and arousal. 4 By six weeks of age, these perceptual and cognitive abilities of normal infants permit them to engage with adult partners in complex communicative interchanges--the playful behavior that is commonly or colloquially called "babytalk."Babytalk is not the trival or inane pastime that it might superficially seem but, rather, a cradle in which nascent psychosocial capacities can emerge and be developed. Interestingly for literary theory, babytalk achieves these effects through fundamentally aesthetic means. Adult-infant engagements are noteworthy for their use of stylization (formalization or simplification), repetition, exaggeration, and elaboration in visual, vocal, and gestural modalities. I call these "aesthetic incunabula"--that is, sources (or early developmental stages) of the operations used by artists in all media to attract attention and to provoke and manipulate emotional response. The existence of sensitivities to such features in the first months of life suggests that humans are born with natural (innate, universal) predispositions for aesthetic engagement from which cultures and individuals can go on to create their myriad elaborated forms of artistic expression.Although babytalk varies in minor details among individuals and cultures, it can be described in all instances as a multimedia performance. That is, it contains not only "talk" (or the characteristic high-pitched, undulant, breathy, patterned, repetitive vocalizations with pauses called "motherese," "parentese," or "infant-directed speech"). Along with the utterances are peculiarly stereotyped, repetitive, and exaggerated facial expressions (such as widened eyes, uplifted eyebrows, sustained open mouth, and smiles), head movements (e.g., distinct bobs backwards, slow rhythmic nods, movement toward and away from the baby), and gestures (such as touching, stroking, and rhythmic pats) to which infants respond with their own vocal sounds and face and body movements and, in many societies, sustained mutual gaze.Babytalk is not only a performance, but a duet that incorporates both synchrony of behavior and alternation (or turn-taking)--activities that [End Page 336] are made possible by the infant's remarkable inborn sensitivity to temporal sequence and pattern. Microanalyses of videotaped interactions (at 24... (shrink)

Engagement with genomic medicine and research has increased globally during the past few decades, including rapid developments in Sri Lanka. Genomic research is carried out in Sri Lanka on a variety of scales and with different aims and perspectives. However, there are concerns about participants' understanding of genomic research, including the validity of informed consent. This article reports a qualitative study aiming to explore the understanding, knowledge, and attitudes of the Sri Lankan public towards genomic medicine and to inform the (...) development of an effective and appropriate process for informed consent in that setting. Purposive sampling was employed. Participants were recruited from a sub-group of the public in Colombo, Sri Lanka who had either consented or refused to donate genetic material for a biobank. Data were collected using face-to-face semi-structured interviews. Interview data were transcribed verbatim and translated into English. Conventional content analysis was used. The analysis developed three key themes: a) ‘Scientific literacy’ describes an apparent lack of scientific knowledge that seems to affect a participant’s ability to understand the research, b) ‘Motivation’ describes narratives about why participants chose (not) to take part in the research, despite not understanding it, and c) ‘Trust’ describes how trust served to mitigate the apparent ethical deficit created by not being fully informed. In this article, we argue that informed trust is likely an acceptable basis for consent, particularly in settings where scientific literacy might be low. However, researchers must work to be worthy of that trust and ensure that misconceptions are actively addressed. (shrink)

In every known human society, some kind—usually many kinds—of art is practiced, frequently with much vigor and pleasure, so that one could at least hypothesize that “artifying” or “artification” is a characteristic behavior of our species. Yet human ethologists and sociobiologists have been conspicuously unforthcoming about this observably widespread and valued practice, for a number of stated and unstated reasons. The present essay is a position paper that offers an overview and analysis of conceptual issues and problems inherent in viewing (...) art and/or aesthetics as adaptive, and it presents a speculative account of a human behavior of art. (shrink)

Introduction Stored human samples and the establishment of biobanks are increasing in the world. Along with this there are the questions of ethics that arise such as the correct method of obtaining informed consent for research on stored samples and the policies involved in collaborative research using collected samples. This study is an attempt to evaluate the researchers, academics and policy makers' views on these ethical aspects. Methods This was an anonymised study involving a Sri Lankan population of researchers, ethics (...) committee members, and policy makers. A self administered questionnaire was utilised as the study instrument. The questionnaire captured four major areas of interest: demographic characteristics of respondents, their attitudes on informed consent policy, their opinion on rights of collaborating researchers, their attitudes on dealing with international differences in regulatory frameworks. Results The study included 55 responders with 40/55 agreeing that donors should receive the option of giving informed consent for future research, with 31/55 considering multiple- type consent options most appropriate. Regarding the issue of shared samples in collaborative research majority agreed that source country ethics review committee approval was necessary 53/55. Conclusion The study concludes that sample donors should be given the option of giving advance consent to unspecified future research provided that future research is approved by an ethics committee. In collaborative research, it is necessary to involve ethics committees from donor countries in the research approval process. (shrink)

Noting that the ethological notion of «making special» (now also called «artification») has gained attention in several fields, including aesthetic philosophy, a brief history is presented of its origin and development over forty years. Its origin is traced to «proto-aesthetic» elements of interactions that evolved in Middle Pleistocene mothers and infants: simplification or formalization, repetition, exaggeration, elaboration, and manipulation of expectation. These operations upon visual, vocal, and gestural modalities were subsequently used by individuals and cultures in creating and responding to (...) their various arts. Artification is a broader human proclivity than «art». Unlike other notions of art it does not imply beauty or skill although in its motivation to mark importance, the ordinary is made extraordinary. In its emphasis on preverbal, presymbolic, pancultural, participative, affective, and affinitive aspects of aesthetic cognition and behavior, the artification hypothesis provides further directions to cognitivist and neuroscientific studies in contemporary philosophical aesthetics. (shrink)

This is the third in a series dealing with the concept of self and its importance in understanding Chinese, Japanese, and Indian cultures. The authors examine the relationship between self and image and its significance in attaining a deeper knowledge of Chinese, Japanese, and Indian cultures. The relationship between self and image is as complex as it is fascinating. It takes on different meanings and significances in diverse cultures. In this volume, the focus of attention is largely on representational practices (...) and symbolic media, such as literature, cinema, art, and dance. By examining both classical and contemporary works associated with China, India, and Japan, the authors seek, on the one hand, to demonstrate the intricate relationship between self and image and, on the other, to make use of that relationship to further our understanding of these cultures. (shrink)

Human infants are born ready to respond to affiliative signals of a caretaker's face, body, and voice. This ritualized behavior in ancestral mothers and infants was an adaptation that gave rise to music and dance as exaptations for promoting group ritual and other social bonding behaviors, arguing for an evolutionary relationship between mother and infant bonding and both music and dance.

My association with Denis Dutton began almost exactly thirty years ago, at the 1981 American Society for Aesthetics (ASA) conference in Tampa, although in an inverse sort of way: he deliberately chose not to meet me.Let me explain. In late October 1981, I was a housewife living in Sri Lanka who certainly did not have the means to travel from South Asia to central Florida. The previous year, I had published a paper in the summer issue of the Journal of (...) Aesthetics and Art Criticism.1 Soon afterward, I received a letter in a somewhat shaky hand from a gentleman in New York, David Mandel, who identified himself as a former labor lawyer who was passionate about the subject of art and evolution, to the extent that he .. (shrink)

I had known Professor David Kalupahana for over fifty years. David, his wife Indrani, my wife, and I were undergraduates at the same time at the University of Ceylon, Peradeniya. He was, of course, senior to us. David and I lived in the same hall of residence and used to meet frequently at breakfast and dinner. Even as an undergraduate, David evinced a great interest in Buddhism and philosophy. I recall that one of his earliest articles that he sent to (...) the students’ magazine was on the idea of causality in Buddhism, an idea which was to be comprehensively explored in his magnum opus. Many of us knew instinctively that he would end up as a university professor; what we did not know then is that he would emerge as a .. (shrink)

What “sort” of mind is required in order to be able to engage in aesthetic experiences? What are the marks of the aesthetic mind and which features distinguish aesthetic mental states? As humans, we are able not only to produce cognitions, feel emotions, use symbols, but also to engage in aesthetic and artistic experiences. How did our aesthetic mind arise over the course of evolution? Is it a by-product, or a side effect, of the development of our symbolic-linguistic competences or, (...) on the contrary, is precisely our aesthetic ability that allows the development of human language and symbolic thought? What is the relationship between the emergence of human modern mind and the origin of art? These are some of the challenging issues addressed during the International Conference The Aesthetic Mind and Origin of Art, held at the University of Florence, Department of Education, from January, 23rd to January 25th 2014. The essays collected in the present issue of «Aisthesis. Pratiche, linguaggi e saperi dell’estetico» mostly stem from talks originally delivered at the conference by leading researchers and international scholars across a wide range of disciplines. (shrink)

Visual (facial), tactile, and gestural, as well as vocal, elements of mother-infant interactions are each formalizations, repetitions, exaggerations, and elaborations of ordinary adult communicative signals of affiliation – suggesting ritualization. They are temporally organized and enable emotional coordination of the interacting pair. This larger view of motherese supports Falk's claim that the social-emotional elements of language are primary and suggests that language and music have common evolutionary foundations.

Given the diverse conceptualisations used in the measurement of organisational value congruence (OVC), the purpose of this paper is to propose an integrated typology of measurement criteria — as a methodological and measurement guideline — that can be employed in operationalising the measurement of OVC. Based on a review of over forty empirical articles, this typology proposes a path forward to operationalise the measurement of OVC by selecting from the proposed criteria and alternative dimensions to match the specific aims of (...) researchers more comprehensively. The typology thus proposed identifies six key criteria and 12 dimensions therein. It further presents how different combinations of alternative dimensions in measuring OVC are used and can be used to best suit different objectives of researchers. As a concept matrix, this typology would specifically be useful for future researchers to identify how best to measure OVC to match their specific study objectives and facilitate rational comparison of OVC studies, permitting sensible knowledge sharing. Further, this typology can be extended to locate the best possible combinations for operationalising the measurement of OVC for future research. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Darwin Meets Literary TheoryEllen DissanayakeEvolution and Literary Theory, by Joseph Carroll; xi & 518 pp. Columbia: University of Missouri Press, 1995, $44.95.In my experience, most literary theorists, even those who participate in conferences called “Literature and Science,” know little about evolution, and don’t want to know. For them, “science” means information theory, chaos or catastrophe theory, fractals, pataphysics, “autopoeisis” or self-organization, emergence, cyborgs, hypertext, virtual signs and other aspects (...) of sci-fi, or techno-politics. (I encountered these subjects at a comparative literature conference I attended in March 1995.) These “scientific” positions are used as trendy metaphors for talking about chance, uncertainty, accident, ideology, and multidimensionality in literary works or in the aims of their authors. In other words, the buzzwords of contemporary science become one more angle from which to view or project another facet onto the glassy, self-reflective edifice of contemporary literary theory, rather than a means from which to shatter it and build again from scratch with more earthy, substantial materials. Joseph Carroll’s book provides the view and the means for this genuinely new and constructive (if initially destructive) possibility.It is ironic that in the present critical climate the very virtues of the book might be seen by some as faults—e.g., the lucid, elegant writing and the erudition and interdisciplinarity of the work as a whole. Carroll [End Page 229] writes clearly, authoritatively, without jargon, and with frequent, delicious wit. His values, aims, explanations, evidence, and criticisms are concisely and plainly stated. This is in marked contrast to the enigmatic and idiosyncratic nature of much recent criticism, and might have the initially disorienting effect of returning to earth and breathing pure oxygen after one has become accustomed to the thin and rarefied atmosphere of remote, icy peaks.Carroll offers wide-ranging and illuminating discussions of standard literary and critical works from both the European and Anglo-American tradition over the past several centuries, and refers to dozens of writers from diverse periods and nationalities. Additionally he enlists, and criticizes where appropriate, ideas from such diverse nonliterary figures as Darwin himself and writers about Darwin, T. H. Huxley, Konrad Lorenz, John Bowlby, Sir John Eccles, the prominent sociobiologists and evolutionary psychologists, S. J. Gould, Richard Lewontin, Derek Bickerton, Piaget, Karl Popper, Thomas Kuhn, Clifford Geertz, H. J. Eysenck, Cardinal Newman, Thorstein Veblen, Trotsky, Raymond Williams, and Richard Rorty, among others.One can be forgiven for wishing to forego an exploration of this demanding array of knowledge argued from the unfamiliar perspective of evolutionary biology. For in order seriously to consider Carroll’s new way of looking at human endeavor (including literature) one must also look critically at what was laboriously mastered during all those years of graduate school and tenure-driven writing for publication. No one wants to be persuaded to give up a view of the world that has been mastered with painstaking diligence. Still less does anyone want to spend time with something that according to conventional academic wisdom is downright wrong-headed. This is really the challenge of Carroll’s book—because such minor matters as the plain unfashionable title, clear writing, impressive erudition, and dated or forgotten thinkers can be overcome if the stakes are high enough.I wish to suggest that the stakes are high enough and that the time is right for this inevitable change of viewpoint. Along with others in diverse fields such as cognitive and developmental psychology, personality theory, neurology, medicine, sociology, political science, epistemology, cultural anthropology, ethics, and linguistics, I find the Darwinian perspective to offer the most comprehensive and viable possibility for an understanding of human behavior and culture, including the arts. Joseph Carroll admirably articulates this position and applies it to literary theory. I invite scholars who think that evolutionary explanations [End Page 230] are erroneous, dangerous, reductionist, simplistic, or irrelevant to read Carroll and deal seriously with his arguments. His book should be the central text for theory classes and seminars, as well as the subject of conferences. Those who would dismiss it should have the courage and curiosity to lay aside their misgivings and have a look. Especially those who are dissatisfied with the surfeit... (shrink)