Ideas about heredity and evolution are undergoing a revolutionary change. New findings in molecular biology challenge the gene-centered version of Darwinian theory according to which adaptation occurs only through natural selection of chance DNA variations. In Evolution in Four Dimensions, Eva Jablonka and Marion Lamb argue that there is more to heredity than genes. They trace four "dimensions" in evolution -- four inheritance systems that play a role in evolution: genetic, epigenetic, behavioral, and symbolic. These systems, they argue, can all (...) provide variations on which natural selection can act. Evolution in Four Dimensions offers a richer, more complex view of evolution than the gene-based, one-dimensional view held by many today. The new synthesis advanced by Jablonka and Lamb makes clear that induced and acquired changes also play a role in evolution.After discussing each of the four inheritance systems in detail, Jablonka and Lamb "put Humpty Dumpty together again" by showing how all of these systems interact. They consider how each may have originated and guided evolutionary history and they discuss the social and philosophical implications of the four-dimensional view of evolution. Each chapter ends with a dialogue in which the authors engage the contrarieties of the fictional "I.M.," or Ifcha Mistabra -- Aramaic for "the opposite conjecture" -- refining their arguments against I.M.'s vigorous counterarguments. The lucid and accessible text is accompanied by artist-physician Anna Zeligowski's lively drawings, which humorously and effectively illustrate the authors' points. (shrink)

Winner of the Wolf Prize for his contribution to our understanding of the universe, Penrose takes on the question of whether artificial intelligence will ever ...

Presenting a look at the human mind's capacity while criticizing artificial intelligence, the author makes suggestions about classical and quantum physics and ..

To make progress on the problem of consciousness, we have to confront it directly. In this paper, I first isolate the truly hard part of the problem, separating it from more tractable parts and giving an account of why it is so difficult to explain. I critique some recent work that uses reductive methods to address consciousness, and argue that such methods inevitably fail to come to grips with the hardest part of the problem. Once this failure is recognized, the (...) door to further progress is opened. In the second half of the paper, I argue that if we move to a new kind of nonreductive explanation, a naturalistic account of consciousness can be given. I put forward my own candidate for such an account: a nonreductive theory based on principles of structural coherence and organizational invariance, and a double-aspect theory of information. (shrink)

The ‘Toward a Science of Consciousness’ conference – which has now become ‘The Science of Consciousness’ conference – recently (June 5-10, 2017) took place instead at the receptive venue of the Hyatt Regency in La Jolla, California. It was well-planned and organized, which is extraordinary considering that it had to be organized all over again within a month or two when the original Shanghai location was cancelled. Things ran smoothly at La Jolla and it was well attended for an odd-year, (...) non-Tucson setting. The Director of the Center for Consciousness Studies, Dr. Stuart Hameroff, and his able Assistant Director and logistics manager, Abi Behar Montefiore, deserve full credit for carrying off this last minute transfer, as do many others who worked in supporting capacities. (shrink)

We present a theory of human artistic experience and the neural mechanisms that mediate it. Any theory of art has to ideally have three components. The logic of art: whether there are universal rules or principles; The evolutionary rationale: why did these rules evolve and why do they have the form that they do; What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of ‘Eight laws of artistic experience’ -- a (...) set of heuristics that artists either consciously or unconsciously deploy to optimally titillate the visual areas of the brain. One of these principles is a psychological phenomenon called the peak shift effect: If a rat is rewarded for discriminating a rectangle from a square, it will respond even more vigorously to a rectangle that is longer and skinnier that the prototype. We suggest that this principle explains not only caricatures, but many other aspects of art. Example: An evocative sketch of a female nude may be one which selectively accentuates those feminine form-attributes that allow one to discriminate it from a male figure; a Boucher, a Van Gogh, or a Monet may be a caricature in ‘colour space’ rather than form space. Even abstract art may employ ‘supernormal’ stimuli to excite form areas in the brain more strongly than natural stimuli. Second, we suggest that grouping is a very basic principle. The different extrastriate visual areas may have evolved specifically to extract correlations in different domains , and discovering and linking multiple features into unitary clusters -- objects -- is facilitated and reinforced by direct connections from these areas to limbic structures. In general, when object-like entities are partially discerned at any stage in the visual hierarchy, messages are sent back to earlier stages to alert them to certain locations or features in order to look for additional evidence for the object . Finally, given constraints on allocation of attentional resources, art is most appealing if it produces heightened activity in a single dimension rather than redundant activation of multiple modules. This idea may help explain the effectiveness of outline drawings and sketches, the savant syndrome in autists, and the sudden emergence of artistic talent in fronto-temporal dementia. In addition to these three basic principles we propose five others, constituting a total of ‘eight laws of aesthetic experience’. (shrink)

This is an important collection in that it fleshes out the vague postulate of panpsychism with a detailed analysis of how it might be understood (if not exactly what it might mean). For the many skeptics who simply dismiss the very idea as ridiculous, there is much here to demonstrate that a good deal of serious thought has gone into this ancient proposal. There are many ways to interpret panpsychism, and they are well represented in this group of philosophers, each (...) speaking for a unique take on the subject or one of its variations– from cosmopsychism to panprotopsychism to panexperientialism to neutral monism, etc. The combination problem is fully interrogated, as is panpsychism associated with dualism, idealism, physicalism, theism, etc. Anyone reading this book is bound to gain some respect for the complexity of such subject matter and the compelling logic for approaching it. (shrink)

In this paper, I analyse how neuroscientists come to the conclusion that the brain 'decides' what we will do. I do so by focusing on a recent study on free won't, from which it is concluded that the decision to veto is not free. First, I argue that assumptions about voluntariness and freedom that underlie this and other Libet-style experiments are more stringent than assumed by other critics. Second, I claim that these assumptions lead to an experimental setting in which (...) the conclusion that the brain 'decides' is almost unavoidable. This is because the only decisions subjects are allowed to make in these experiments are spontaneous decisions that are not based on reasons. Even if the subjects acted for reasons or deliberated about what to do it would not be interpreted as such. Because of this, alternative definitions of voluntariness and freedom are necessary for neuroscientific experiments to provide a valuable contribution to the debate on free will. (shrink)

An interview with Anthony Freeman, in which one of the original authors of ‘The Science of Art’ [JCS, 6, No. 6/7, 1999] responds to to ongoing commentary.