Anton Killin

Recent archaeological evidence is shedding light on the Neanderthals. New discoveries as well as recent reinterpretations of material traces associated with Neanderthals provide windows into their complex cognitive, social, and emotional lives. This article argues that although Neanderthals and ancient Homo sapiens were distinct, the behavioral gap between them, as represented by the archaeological record, is narrower than was previously supposed. Indeed, narrower to the extent that the concept of human behavioral modernity no longer picks out the distinctive behavioral profile of H. sapiens in a clear and useful way. The record contains trace evidence of Neanderthal behaviors/practices that fall within the range of variation of the behavioral profile of ethnographically known human foragers, and which would be taken as markers of behavioral modernity if found in association with ancient H. sapiens. On this basis, this article advocates for retiring the concept of human behavioral modernity. Key controversies remain, of course (for example, the contentious issue of H. sapiens and Neanderthal symbolic behavior/cognition, the question of Neanderthal/H. sapiens interaction especially as it relates to Neanderthal extinction, the extent to which different hominin populations/lineages exhibited adaptive behavioral plasticity, and voluminous debates surrounding the evolution of language, kinship, religion, morality, the arts, and so on), but these do not require a notion of behavioral modernity for guiding progress. “Behavioral modernity” as a research-guiding notion has done its dash. While the generation and implementation of new concepts of behavioral modernity remains a live option, this article suggests a disuse strategy: that debate couched in the parlance of behavioral modernity would benefit simply by pivoting to that of the specific issues at stake in whichever research/discursive context is at hand.

An aesthetic sense—a taste for the creation and/or appreciation of that which strikes one as, e.g., attractive or awesome—is often assumed to be a distinctively H. sapiens phenomenon. However, recent paleoanthropological research is revealing its archaeologically visible, deeper roots. The sensorimotor/perceptual and cognitive capacities underpinning aesthetic activities are a major focus of evolutionary aesthetics. Here we take a diachronic, evolutionary perspective and assess ongoing scepticism regarding whether, and to what extent, aesthetic capacity extends to our evolutionary cousins, the Neanderthals. The goal of this article is twofold. First, it serves as a defence of the attribution of Neanderthal aesthetic capacity by marshalling archaeological data best explained by positing a Neanderthal aesthetic sense. Second, it offers an opportunity to make progress on understanding some epistemically relevant features of the wider debate in evolutionary aesthetics. First, we outline and analyse a range of distinct ‘sceptical arguments’ derived from attitudes and claims found in the literature and broader debate that aim to dial down the case for Neanderthal aesthetic capacity. We show that these arguments not only miss their target, they divert the debate away from more compelling questions. We then consider the case for protoaesthetic capacities and sensitivities in the Acheulean stone tool industry and argue that Neanderthals likely inherited the protoaesthetic package from ancient ancestors that they shared with H. sapiens. Finally, we sketch and defend a research agenda for framing Neanderthal aesthetic niche(s) beyond H. sapiens-derived standards, which we see as a priority for future archaeological, cognitive, and philosophical research. While we resist sceptical arguments and the often-implied inferiority of Neanderthals to humans, we also deny that Neanderthals and ancient humans were indistinguishable. Understanding the differences is an important goal of interpretation, and we apply this line of reasoning to the case of aesthetics.

Understanding the minds of past populations through their material remains presents cognitive archaeologists with a range of inferential challenges. One of these is theory selection: which cognitive models should we choose for archaeological analysis, and why? In this article, we outline three problems facing researchers performing this task, and recommend four heuristics designed to mitigate the extent of those problems: consilience, theoretical pluralism, sample diversity, and robustness. The archaeologist who selects a cognitive model that does well against these heuristics stands to better epistemically licence their inference from archaeological evidence to (some aspect of) hominin cognition in the deep past.

In A Million Years of Music, Gary Tomlinson develops an extensive evolutionary narrative that emphasises several important components of human musicality and proposes a theory of the coalescence of these components. In this essay I tie some of Tomlinson’s ideas to five constraints on theories of music’s evolution. This provides the framework for organising my reconstruction of his model. Thereafter I focus on Tomlinson’s description of ‘entraining’ Acheulean toolmakers and offer several criticisms. I close with some tentative proposals for further theorising.

This paper extends the reach of the concept of aesthetic personality, as utilized by Uku Tooming in a recent article, ‘Aesthetic Disagreement with Oneself as Another’, published in Estetika (2023). Tooming invokes this concept as part of his solution to a philosophical puzzle concerning aesthetic disagreement with one’s past self. I argue that equivalence (or approximate equivalence) of aesthetic personality in cases in which one disagrees with an aesthetic peer or peers on an aesthetic judgement licenses the revision of one’s aesthetic judgement. This relates to both intra- and interindividual aesthetic peer disagreements. Interestingly, equivalence of aesthetic personality can, at least in certain cases, undermine the appeal of the autonomy principle, which holds that one must exercise one’s own evaluative capacities in producing a legitimate aesthetic judgement, and which Tooming considers a promising ground for not budging in cases of interindividual aesthetic disagreement.

This article introduces the special issue “Philosophy and Prehistory: New Perspectives on Minds, Art, and Culture.” The primary motivation for the issue was to create a space where philosophy and evolutionary cognitive archaeology could intersect. We wanted to encourage cognitive archaeologists to reflect on their field from a philosophical perspective, and philosophers to consider key methodological, theoretical, or conceptual issues in evolutionary cognitive archaeology. We thereby aimed to bridge a perceived gap between philosophical and scientific research on prehistory, and to explore how these fields might complement each other. Our contributors relied on a variety of philosophical frameworks, including phenomenology, analytic philosophy, 4E cognition, and Material Engagement Theory. In this introduction, we reflect briefly on all fourteen contributions, and identify some common themes and points of complementarity. By bringing these perspectives together, we hope to inspire further philosophical inquiry into the vast expanse of human prehistory.

This article seeks to interpret how the scientific study of individualization, broadly construed, is conceived from within. It presents and discusses an analysis of qualitative data gained from performing semi-structured expert interviews. By way of a thematic-analytic approach to interpreting this data, this article seeks to investigate the attitudes and opinions of a sample of scientific experts who study individualization, across a wide range of scientific fields, with regard to key concepts, phenomena, motivating factors, and open questions. Centering its analysis on discussion of four themes, this paper (1) emphasizes the importance for science of individuals and individuality, (2) reflects on matters pertaining to language and interdisciplinary communication, (3) distinguishes between nine meanings of the word “individualization,” stressing their significant features, and (4) considers ideas about the consequences of individualization and ongoing methodological concerns.

Recent efforts in a range of scientific fields have emphasised research and methods concerning individual differences and individualisation. This article brings together various scientific disciplines—ecology, evolution, and animal behaviour; medicine and psychiatry; public health and sport/exercise science; sociology; psychology; economics and management science—and presents their research on individualisation. We then clarify the concept of individualisation as it appears in the disciplinary casework by distinguishing three kinds of individualisation studied in and across these disciplines: Individualisation ONE as creating/changing individual differences (the process that generates differences between individuals: intrapopulation or intraspecific variation/heterogeneity); Individualisation TWO as individualising applications (the tailoring or customising of something—information, treatment, a product or service, etc.—for an individual or specific group of individuals); and Individualisation THREE as social changes influencing autonomy, risk, and responsibilities (the process discussed under the rubric of sociological individualisation theory). Moreover, we analyse conceptual links between individualisation and individuality, and characterise different sorts of individuality that the disciplines study. This paper aims to promote interdisciplinary research concerning individualisation by establishing a common conceptual-theoretical basis, while leaving room for disciplinary differences.

The philosophy of cognitive paleoanthropology involves three related tasks: (1) asking what inferences might be drawn from the paleontological and archaeological records to past cognition, behavior and culture; (2) constructing synthetic accounts of the evolution of distinctive hominin capacities; (3) exploring how results from cognitive paleoanthropology might inform philosophy. We introduce some distinctive cognitive paleoanthropological inferences and discuss their epistemic standing, before considering how attention to the material records and the practice of paleoanthropology can inform and transform philosophical approaches.

An aesthetic sense—a taste for the creation and/or appreciation of that which strikes one as, e.g., attractive or awesome—is often assumed to be a distinctively H. sapiens phenomenon. However, recent paleoanthropological research is revealing its archaeologically visible, deeper roots. The sensorimotor/perceptual and cognitive capacities underpinning aesthetic activities are a major focus of evolutionary aesthetics. Here we take a diachronic, evolutionary perspective and assess ongoing scepticism regarding whether, and to what extent, aesthetic capacity extends to our evolutionary cousins, the Neanderthals. The goal of this article is twofold. First, it serves as a defence of the attribution of Neanderthal aesthetic capacity by marshalling archaeological data best explained by positing a Neanderthal aesthetic sense. Second, it offers an opportunity to make progress on understanding some epistemically relevant features of the wider debate in evolutionary aesthetics. First, we outline and analyse a range of distinct ‘sceptical arguments’ derived from attitudes and claims found in the literature and broader debate that aim to dial down the case for Neanderthal aesthetic capacity. We show that these arguments not only miss their target, they divert the debate away from more compelling questions. We then consider the case for protoaesthetic capacities and sensitivities in the Acheulean stone tool industry and argue that Neanderthals likely inherited the protoaesthetic package from ancient ancestors that they shared with H. sapiens. Finally, we sketch and defend a research agenda for framing Neanderthal aesthetic niche(s) beyond H. sapiens-derived standards, which we see as a priority for future archaeological, cognitive, and philosophical research. While we resist sceptical arguments and the often-implied inferiority of Neanderthals to humans, we also deny that Neanderthals and ancient humans were indistinguishable. Understanding the differences is an important goal of interpretation, and we apply this line of reasoning to the case of aesthetics.

Music is a deeply entrenched human phenomenon. In this article, I argue that its evolutionary origins are intrinsically intertwined with the incremental anatomical, cognitive, social, and technological evolution of the hominin lineage. I propose an account of the evolution of Plio-Pleistocene hominins, focusing on traits that would be later implicated in music making. Such traits can be conceived as comprising the musicality mosaic or the multifaceted foundations of musicality. I then articulate and defend an account of protomusical behaviour, drawing theoretical licence from the social brain framework of Robin Dunbar and colleagues, as well as the evolutionary framework for human culture and cooperation developed by Kim Sterelny. The role of gene-culture co-evolution and niche construction is brought to the fore in articulating the evolutionary account. Finally, I defend the view that music subsequently developed via processes of social learning and cumulative culture.

The term ‘environment’ is not uniformly defined in the public health sciences, which causes crucial inconsistencies in research, health policy, and practice. As we shall indicate, this is somewhat entangled with diverging pathogenic and salutogenic perspectives (research and policy priorities) concerning environmental health. We emphasise two distinct concepts of environment in use by the World Health Organisation. One significant way these concepts differ concerns whether the social environment is included. Divergence on this matter has profound consequences for the understanding of health and disease, for measures derived from that understanding targeting health promotion and disease prevention, and consequently, for epistemic structures and concept development in scientific practice. We hope to improve the given situation in public health by uncovering these differences and by developing a fruitful way of thinking about environment. Firstly, we side with the salutogenic conception of environment as a _health resource_ (as well as a source of health risks). Secondly, we subdivide the concept of environment into four _health-oriented environmental categories_ (viz., natural, built-material, socio-cultural, and psychosocial) and we link these with other theoretical notions proposed in the health sciences literature. Thirdly, we propose that in public health ‘environment’ should be understood as consisting of all extrinsic factors that influence or are influenced by the health, well-being, and development of an individual. Consequently, none of the four categories should be excluded from the concept of environment. We point out the practical relevance and fruitfulness of the conception of environment as a health source and frame this in causal terms, representing _individual health environments_ as causal networks. Throughout, we side with the view that for the design of human health-promoting settings, increased attention and consideration of environmental resources of salutogenic potential is particularly pressing.

Review of: Fiona MacDonald: Individualising risk (Singapore: Palgrave Macmillan, 2021, 223 pp, 130€ HB). MacDonald advances several claims. First, the ‘gig economy’ and ‘cash-for-care’ marketisation of social care and health support work come with major pitfalls: These are explored with reference to specific cases in Australia and England. Second, processes that underlie the individualisation of care need to be identified and critically evaluated. For when risk and responsibility are shifted onto individual workers, what we can expect to see, given the evidence, is a marked decrease in the quality of care that the elderly and people with disability receive. [...]

We argue for conceptual pluralism about music. In our view, there is no right answer to the question ‘What is music?’ divorced from some context or interest. Instead, there are several, non-equivalent music concepts suited to different interests – from within some tradition or practice, or by way of some research question or field of inquiry. We argue (1) that unitary definitions of music are problematic, (2) that the role music concepts play in various research questions should motivate conceptual pluralism about music, and (3) that taking music pluralism seriously grounds a fruitful research programme in aesthetics. We suspect that pluralism about music is a good test case for the utility of pluralism in aesthetics more generally, and we present it as such.

Musical flutes constructed from bird bone and mammoth ivory begin to appear in the archaeological record from around 40,000 years ago. Due to the different physical demands of acquiring and working with these source materials in order to produce a flute, researchers have speculated about the significance—aesthetic or otherwise—of the use of mammoth ivory as a raw material for flutes. I argue that biological signaling theory provides a theoretical basis for the proposition that mammoth ivory flute production is a signal of increasing social differentiation in Upper Palaeolithic human life.

Explorations in Archaeology and Philosophy grew out of an interdisciplinary conference on the Upper Palaeolithic, “Digging Deeper: Archaeological and Philosophical Perspectives”, held on Miami Beach, Florida, in December 2017. The previous decade had seen increasing numbers of publications on topics of interest to both philosophers and archaeologists, so the time was ripe for a conference which served to generate constructive dialogue between researchers from both disciplines. Themes discussed included art, music, the mind, symbols, mortuary practices, and archaeological methodology. This volume draws from several contributors to that conference as well as other leading researchers at the forefront of the intersection of archaeology and philosophy. Its scope is expanded from the Upper Palaeolithic to archaeological research in general—adopting a broad conception inviting many perspectives from philosophy and interdisciplinary evolutionary studies to the table—and is organized by topics into four sections: Theory and Inference; Interdisciplinary Connections; Cognition, Language and Normativity; Ethical Issues.

In their landmark 2010 paper, “The weirdest people in the world?”, Henrich, Heine, and Norenzayan outlined a serious methodological problem for the psychological and behavioural sciences. Most of the studies produced in the field use people from Western, Educated, Industrialised, Rich and Democratic (WEIRD) societies, yet inferences are often drawn to the species as a whole. In drawing such inferences, researchers implicitly assume that either there is little variation across human populations, or that WEIRD populations are generally representative of the species. Yet neither of these assumptions is justified. In many psychological and behavioural domains, cultural variation begets cognitive variation, and WEIRD samples are recurrently shown to be outliers. In the years since the article was published, attention has focused on the implications this has for research on extant human populations. Here we extend those implications to the study of ancient _H. sapiens_, their hominin forebears, and cousin lineages. We assess a range of characteristic arguments and key studies in the cognitive archaeology literature, identifying issues stemming from the problem of sample diversity. We then look at how worrying the problem is, and consider some conditions under which inferences to ancient populations via cognitive models might be provisionally justified.

This volume explores various themes at the intersection of archaeology and philosophy: inference and theory; interdisciplinary connections; cognition, language and normativity; and ethical issues. Showcasing this heterogeneity, its scope ranges from the method of analogical inference to the evolution of the human mind; from conceptual issues in assessing the health of past populations to the ethics of cultural heritage tourism. It probes the archaeological record for evidence of numeracy, curiosity and creativity, and social complexity. Its contributors comprise an interdisciplinary cluster of philosophers, archaeologists, anthropologists, and psychologists, from a variety of career stages, of whom many are leading experts in their fields. Chapter 3 is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

Cognitive archaeologists attempt to infer the cognitive and cultural features of past hominins and their societies from the material record. This task faces the problem of _minimum necessary competence_: as the most sophisticated thinking of ancient hominins may have been in domains that leave no archaeological signature, it is safest to assume that tool production and use reflects only the lower boundary of cognitive capacities. Cognitive archaeology involves selecting a model from the cognitive sciences and then assessing some aspect of the material record through that lens. We give examples to show that background theoretical commitments in cognitive science that inform those models lead to different minimum necessary competence results. This raises an important question: what principles should guide us in selecting a model from the cognitive sciences? We outline two complementary responses to this question. The first involves using _independent_ lines of evidence to converge on a particular capacity. This can then influence model choice. The second is a broader suggestion. Theoretical diversity is a good thing in science, but is only beneficial over a limited amount of time. According to recent modelling work, one way of limiting diversity is to introduce extreme priors. We argue that having a broad spectrum of views in the philosophy of cognitive science may actually help cognitive archaeologists address the problem of minimum necessary competence.

Theorists have recently defended rival analyses of sound. The leading analyses reduce sound to sensations or mental representations, longitudinal compression waves, or sounding objects or events. Participants in the debate presuppose that because the features of the world targeted by these reductive strategies are distinct, at most one of the analyses is correct. In this article I argue that this presupposition is mistaken, endorsing a polysemy analysis of ‘sound’. Thus the ‘What is sound?’ debate is largely merely verbal, or so I argue. All participants in this debate agree that there are the various reductions, they simply differ over which of them ‘is sound’. Yet there is no reason to think that, say, psychologists studying auditory sensations/representations, audio physicists studying sound waves, and anthropologists/ethnomusicologists studying sounding objects/events aren’t just studying different reductions of ‘sound’ despite the different explananda of their research. According to the polysemy theory of sound, we do not need to uniquely identify sound with one of these various explananda, outside of some context.

Cognitive archaeologists infer from material remains to the cognitive features of past societies. We characterize cognitive archaeology in terms of trace-based reasoning, which in the case of cognitive archaeology involves inferences drawing upon background theory linking objects from the archaeological record to cognitive features. We analyse such practices, examining work on cognitive evolution, language, and musicality. We argue that the central epistemic challenge for cognitive archaeology is often not a paucity of material remains, but insufficient constraint from cognitive theories. However, we also argue that the success of cognitive archaeology does not necessarily require well-developed cognitive theories: Success might instead lead to them.

The debate concerning the ontological status of musical works is perhaps the most animated debate in contemporary analytic philosophy of music. In my view, progress requires a piecemeal approach. So in this article I hone in on one particular musical work concept – that of the classical Western art musical work; that is, the work concept that regulates classical art-musical practice. I defend a fictionalist analysis – a strategy recently suggested by Andrew Kania as potentially fruitful – and I develop a version of such an analysis in line with a broad commitment to philosophical naturalism.