scholarly journals Why Depressed Mood is Adaptive: A Numerical Proof of Principle for an Evolutionary Systems Theory of Depression

2021 ◽  
Vol 5 (1) ◽  
pp. 60-80
Author(s):  
Axel Constant ◽  
Casper Hesp ◽  
Christopher G. Davey ◽  
Karl J. Friston ◽  
Paul B. Badcock
Author(s):  
J. T. Velikovsky

A universal problem in the disciplines of communication, creativity, philosophy, biology, psychology, sociology, anthropology, archaeology, history, linguistics, information science, cultural studies, literature, media and other domains of knowledge in both the arts and sciences has been the definition of ‘culture' (see Kroeber & Kluckhohn, 1952; Baldwin et al., 2006), including the specification of ‘the unit of culture', and, mechanisms of culture. This chapter proposes a theory of the unit of culture, or, the ‘meme' (Dawkins, 1976; Dennett, 1995; Blackmore, 1999), a unit which is also the narreme (Barthes, 1966), or ‘unit of story', or ‘unit of narrative'. The holon/parton theory of the unit of culture (Velikovsky, 2014) is a consilient (Wilson, 1998) synthesis of (Koestler, 1964, 1967, 1978) and Feynman (1975, 2005) and also the Evolutionary Systems Theory model of creativity (Csikszentmihalyi, 1988-2014; Simonton, 1984-2014). This theory of the unit of culture potentially has applications across all creative cultural domains and disciplines in the sciences, arts and communication media.


2017 ◽  
Vol 21 (3) ◽  
pp. 182-194 ◽  
Author(s):  
Paul B. Badcock ◽  
Christopher G. Davey ◽  
Sarah Whittle ◽  
Nicholas B. Allen ◽  
Karl J. Friston

2019 ◽  
Vol 19 (6) ◽  
pp. 1319-1351 ◽  
Author(s):  
Paul B. Badcock ◽  
Karl J. Friston ◽  
Maxwell J. D. Ramstead ◽  
Annemie Ploeger ◽  
Jakob Hohwy

Author(s):  
J. T. Velikovsky

This chapter uses systems theory and complexity theory to describe the holon/parton structure of the unit of culture, also known as the meme. The structure of the unit of culture viewed as the holon-parton is a conceptual, theoretical, practical, and scientific tool for identifying and analyzing units (as parts, and as wholes), potentially within all symbol systems in culture. The theoretical perspective adopted in this chapter is evolutionary systems theory. Memes are defined as units of culture, or ideas, processes, or products.


Author(s):  
J. T. Velikovsky

A universal problem in the disciplines of communication, creativity, philosophy, biology, psychology, sociology, anthropology, archaeology, history, linguistics, information science, cultural studies, literature, media and other domains of knowledge in both the arts and sciences has been the definition of ‘culture' (see Kroeber & Kluckhohn, 1952; Baldwin et al., 2006), including the specification of ‘the unit of culture', and, mechanisms of culture. This chapter proposes a theory of the unit of culture, or, the ‘meme' (Dawkins, 1976; Dennett, 1995; Blackmore, 1999), a unit which is also the narreme (Barthes, 1966), or ‘unit of story', or ‘unit of narrative'. The holon/parton theory of the unit of culture (Velikovsky, 2014) is a consilient (Wilson, 1998) synthesis of (Koestler, 1964, 1967, 1978) and Feynman (1975, 2005) and also the Evolutionary Systems Theory model of creativity (Csikszentmihalyi, 1988-2014; Simonton, 1984-2014). This theory of the unit of culture potentially has applications across all creative cultural domains and disciplines in the sciences, arts and communication media.


Author(s):  
J. T. Velikovsky

This article invites readers to participate in a survey on computational creativity. It asks: (a) Can computers be creative? and (b) Can algorithmic computational creativity teach us about human creativity? The standard definition of creativity is adopted. The article is in two parts. Part One introduces a new interactive artificial–writer computer program, an Excel workbook containing six functional sub–modules, namely: 1) A Top 20 RoI Movie Pitch Combiner; 2) A Bottom 20 RoI Movie Pitch Element Combiner; 3) A Random Movie Pitcher; 4) A Movie Pitch Selector which judges, scores, and ranks generated pitches in evolutionary survival tournaments; 5) An Ironic Character Generator; and finally, 6) A Random Transmedia Story Universe Pitch Generator. Readers are invited to play–test The Robo–Raconteur and complete a short (5–minute) online survey: Was the artificial writer creative? Part Two explains the Evolutionary Systems Theory of Creativity that underpins the software.


2018 ◽  
Author(s):  
Joachim Karl Rennstich

As an interdisciplinary approach, evolutionary systems theory borrows from fields such as statistical physics, evolutionary biology as well as economics and others to build on their insights from studies of environments — as systems — and the behavior of actors within those environments — their agency. It provides a bridge between existing and divergent but related strings of research of particular systemic elements as a unifying macro-theory of our social and physical world, fusing multiple approaches into a common model. The unifying key is the focus on the behavior of agents (e.g., individuals; groups; cities; states; world systems) as it relates to the environment (both natural and social) in which these agents act and the feedback between behavior and environment. Evolutionary systems approaches can broadly be placed into two categories: (1) the biobehavioral and (2) the socialevolutionary approach to the study of international relations with the help of evolutionary theory. The point of evolutionary explanations is not to make the case that humans are incapable of making their own choices —far from it, learning and selection are critical elements of human agency in evolutionary models. Rather, evolutionary systems theory also includes in its models the structural capacity to make those choices, which derives from and depends on previous choices made, a process that is also bound by our biological evolution or alternatively by our cognitive limitations and available selection mechanisms, regardless of the relative complexity of human learning capacity.


Author(s):  
Joachim K. Rennstich

As an interdisciplinary approach, evolutionary systems theory borrows from fields such as statistical physics and evolutionary biology, as well as economics and others, to build on their insights from studies of environments—as systems—and the behavior of actors within those environments—their agency. It provides a bridge between existing and divergent but related strings of research of particular systemic elements as a unifying macro-theory of our social and physical world, fusing multiple approaches into a common model. The unifying key is the focus on the behavior of agents (e.g., individuals, groups, cities, states, world systems) as it relates to the environment (both natural and social) in which these agents act and the feedback between behavior and environment. Evolutionary systems approaches can broadly be placed into two categories: the biobehavioral and the social-evolutionary approaches to the study of international relations with the help of evolutionary theory. The point of evolutionary explanations is not to make the case that humans are incapable of making their own choices—far from it. Learning and selection are critical elements of human agency in evolutionary models. Rather, evolutionary systems theory also includes in its models the structural capacity to make those choices, which derives from and depends on previous choices made, a process also bound by our biological evolution or alternatively by our cognitive limitations and available structural selection mechanisms, regardless of the relative complexity of human learning capacity.


Sign in / Sign up

Export Citation Format

Share Document