Evolution In Science Philosophy And Art

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Excerpt from Evolution in Science, Philosophy, and Art: Popular Lectures and Discussions Before the Brooklyn Ethical Association The doctrine of Evolution, representing as it does Nature's uniform method whereby all progressive changes are accomplished, whether in Physics, Biology, Psychology, Sociology, or Ethics, is susceptible of an infinite variety of expository illustrations. The present volume, which is the natural successor of previous courses of lectures before the Brooklyn Ethical Association on Evolution and Sociology, exemplifies the workings of this universal law in some of the special departments of Science, Philosophy, and Art The seventeen lectures herewith presented may be naturally segregated under these several heads. To the department of Science belongs the able exposition and critique of the contributions of Alfred Russel Wallace, the co-discoverer with Charles Darwin of the law of Natural Selection, to the doctrine of Evolution, by our foremost American biologist, Prof. Edward D. Cope, together with the monographs on the evolution of Chemistry, Electric and Magnetic Physics, Botany, Zoology, and Optics, and Mr. Potts's interesting discussion of the development of Form and Color in Nature. To the department of Philosophy may properly be assigned the exposition of the life, work, and philosophical system of Prof. Ernst Haeckel, the eminent German evolutionist, in the lecture of Mr. Wake-man and the appended discussion, Dr. Abbot's exposition of The Scientific Method, Mr. Underwood's able presentation of the principles of Herbert Spencer's Synthetic Philosophy. Dr. Janes's application of the philosophy of Evolution to the Art of Life, and the noteworthy discussion of The Doctrine of Evolution, its Scope and Influence, by Prof. John Fiske, our ablest American exponent of this doctrine in its ethical and philosophical aspects. The final outcome of these lectures constitutes, it is believed, a complete refutation of the charge of materialism sometimes unjustly made against Mr. Spencer and the whole modern school of evolutionists. This is a matter of great interest and profound significance, to which we commend the thoughtful attention of the reader and reviewer. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Philosophy of Biology is a rapidly expanding field. It is concerned with explanatory concepts in evolution, genetics, and ecology. This collection of 25 essays by leading researchers provides an overview of the state of the field. These essays are wholly new; none of them could have been written even ten years ago. They demonstrate how philosophical analysis has been able to contribute to sometimes contested areas of scientific theory making. -Written by internationally acknowledged leaders in the field - Entries make original contributions as well as summarizing state of the art discoveries in the field - Easy to read and understand

'The peacock's tail makes me sick!' said Charles Darwin. That's because the theory of evolution as adaptation can't explain why nature is so beautiful. It took the concept of sexual selection for Darwin to explain that, a process that has more to do with aesthetic taste than adaptive fitness. Survival of the Beautiful is a revolutionary new examination of the interplay of beauty, art, and culture in evolution. Taking inspiration from Darwin's observation that animals have a natural aesthetic sense, philosopher and musician David Rothenberg probes why animals, humans included, have an innate appreciation for beauty - and why nature is, indeed, beautiful.

The surge of evolutionary and neurological analyses of art and its effects raises questions of how art, culture, and the biological sciences influence one another, and what we gain in applying scientific methods to the interpretation of artwork. In this insightful book, Matthew Rampley addresses these questions by exploring key areas where Darwinism, neuroscience, and art history intersect. Taking a scientific approach to understanding art has led to novel and provocative ideas about its origins, the basis of aesthetic experience, and the nature of research into art and the humanities. Rampley’s inquiry examines models of artistic development, the theories and development of aesthetic response, and ideas about brain processes underlying creative work. He considers the validity of the arguments put forward by advocates of evolutionary and neuroscientific analysis, as well as its value as a way of understanding art and culture. With the goal of bridging the divide between science and culture, Rampley advocates for wider recognition of the human motivations that drive inquiry of all types, and he argues that our engagement with art can never be encapsulated in a single notion of scientific knowledge. Engaging and compelling, The Seductions of Darwin is a rewarding look at the identity and development of art history and its complicated ties to the world of scientific thought.

The Art Instinct combines two of the most fascinating and contentious disciplines, art and evolutionary science, in a provocative new work that will revolutionize the way art itself is perceived. Aesthetic taste, argues Denis Dutton, is an evolutionary trait, and is shaped by natural selection. It's not, as almost all contemporary art criticism and academic theory would have it, "socially constructed." The human appreciation for art is innate, and certain artistic values are universal across cultures, such as a preference for landscapes that, like the ancient savannah, feature water and distant trees. If people from Africa to Alaska prefer images that would have appealed to our hominid ancestors, what does that mean for the entire discipline of art history? Dutton argues, with forceful logic and hard evidence, that art criticism needs to be premised on an understanding of evolution, not on abstract "theory." Sure to provoke discussion in scientific circles and an uproar in the art world, The Art Instinct offers radical new insights into both the nature of art and the workings of the human mind.