There is long-standing disagreement among systematists about how to divide biodiversity into species. Over twenty different species concepts are used to group organisms, according to criteria as diverse as morphological or molecular similarity, interbreeding and genealogical relationships. This, combined with the implications of evolutionary biology, raises the worry that either there is no single kind of species, or that species are not real. This book surveys the history of thinking about species from Aristotle to modern systematics in order to understand (...) the origin of the problem, and advocates a solution based on the idea of the division of conceptual labor, whereby species concepts function in different ways - theoretically and operationally. It also considers related topics such as individuality and the metaphysics of evolution, and how scientific terms get their meaning. This important addition to the current debate will be essential for philosophers and historians of science, and for biologists. (shrink)

Modern biological classification is based on the system developed by Linnaeus, and interpreted by Darwin as representing the tree of life. But despite its widespread acceptance, the evolutionary interpretation has some problems and limitations. This comprehensive book provides a single resource for understanding all the main philosophical issues and controversies about biological classification. It surveys the history of biological classification from Aristotle to contemporary phylogenetics and shows how modern biological classification has developed and changed over time. Readers will also be (...) able to see how biological classification is in part a consequence of human psychology, language development and culture. The book will be valuable for student readers and others interested in a range of topics in philosophy and biology. (shrink)

Recent scientific approaches to aesthetics include evolutionary theories about the origin of art behavior, psychological investigations into human aesthetic experience and preferences, and neurophysiological explorations of the mechanisms underlying art experience. Critics of these approaches argue that they are ultimately irrelevant to a philosophical aesthetics because they cannot help us understand the distinctive conceptual basis and normativity of our art experience. This criticism may seem plausible given the piecemeal nature of these scientific approaches, but a more comprehensive naturalistic framework can (...) help us understand the conceptual basis and normativity of art. In particular, the ecology of art, an understanding of how individuals interact within particular environments, can help us understand the engineered art niches in which we create and experience art. Each niche is associated with a particular deme, or set of individuals that interact within that niche, and a set of cognitive, epistemic, and pedagogical technologies that form the conceptual basis of a niche-dependent normativity. This is to be contrasted with the niche-independent normativity revealed by many of the scientific approaches. This framework, and the conflicting streams of normativity it reveals, allows us to better understand conflicts in normativity and the implausibility of unequivocal and universal normative principles. (shrink)

Ontological questions in biology have typically focused on the nature of species: what are species; how are they identified and individuated? There is an analogous, but much neglected concern: what are characters; how are they identified and individuated? Character individuation is significant because biological systematics relies on a parsimony principle to determine phylogeny and classify taxa, and the parsimony principle is usually interpreted to favor the phylogenetic hypothesis that requires the fewest changes in characters. But no character individuation principle identified (...) so far is adequate. For biological systematics we need a better way of conceiving characters. (shrink)

: According to Kuhn, theory choice is not governed by algorithms, but by values, which influence yet do not determine theory choice. Cladistic hypotheses, however, seem to be evaluated relative to a parsimony algorithm, which asserts that the best phylogenetic hypothesis is the one that requires the fewest character changes. While this seems to be an unequivocal evaluative rule, it is not. The application of the parsimony principle is ultimately indeterminate because the choice and individuation of characters that figure in (...) parsimony computations are indeterminate. The cladistic approach is Kuhnian because the application of parsimony depends on persuasion, background, training and tradition. (shrink)

Biological accounts of art typically start with evolutionary, psychological or neurobiological theories. These approaches might be able to explain many of the similarities we see in art behaviors within and across human populations, but they don't obviously explain the differences we also see. Nor do they give us guidance on how we should engage with art, or the conceptual basis for art. A more comprehensive framework, based also on the ecology of art and how art behaviors get expressed in engineered (...) niches, can help us better understand the full range of art behaviors, their normativity and conceptual basis. (shrink)

On one standard philosophical position adopted by evolutionary naturalists, human ethical systems are nothing more than evolutionary adaptations that facilitate social behavior. Belief in an absolute moral foundation is therefore in error. But evolutionary naturalism, by its commitment to the basic valutional concept of fitness, reveals another, logical error: standard conceptions of value in terms of simple predication and properties are mistaken. Valuation has instead, a relational structure that makes reference to respects, subjects and environments. This relational nature is illustrated (...) by the analogy commonly drawn between value and color. Color perception, as recognized by the ecological concept, is relational and dependent on subject and environment. In a similar way, value is relational and dependent on subject and environment. This makes value subjective, but also objective in that it is grounded on facts about mattering. At bottom, values are complex relational facts. The view presented here, unlike other prominent relational and naturalistic conceptions of value, recognizes the full range of valuation in nature. The advantages of this relational conception are first, that it gets valuation right; second, it provides a framework to better explain and understand valuation in all its varieties and patterns. (shrink)

On one standard philosophical position adopted by evolutionary naturalists, human ethical systems are nothing more than evolutionary adaptations that facilitate social behavior. Belief in an absolute moral foundation is therefore in error. But evolutionary naturalism, by its commitment to the basic valutional concept of fitness, reveals another, logical error: standard conceptions of value in terms of simple predication and properties are mistaken. Valuation has instead, a relational structure that makes reference to respects, subjects and environments. This relational nature is illustrated (...) by the analogy commonly drawn between value and color. Color perception, as recognized by the ecological concept, is relational and dependent on subject and environment. In a similar way, value is relational and dependent on subject and environment. This makes value subjective, but also objective in that it is grounded on facts about mattering. At bottom, values are complex relational facts. The view presented here, unlike other prominent relational and naturalistic conceptions of value, recognizes the full range of valuation in nature. The advantages of this relational conception are first, that it gets valuation right; second, it provides a framework to better explain and understand valuation in all its varieties and patterns. (shrink)