Much of Stuart Kauffman's work in the philosophy of evolutionary biology has centered on the question of what he calls "prestatability" in evolution: that is, whether or not science can precisely predict the future development of biological features in organisms, using a singular "FinalTheory" of evolution. In this book, Kauffman argues that the development of life on earth is not prestatable, because no theory could ever fully account for the limitless variability of evolution. He believes that the biological universe's primary trait is that it is creative, and that acknowledgingthis creativity will lead to a radically different way in which humans view themselves and all other living beings. It is an argument against Reductive Materialism.Kauffman also asserts that man's Modern preoccupation to explain all things with scientific law has deadened our creative natures. In his words, he aims for the book to be "one that revises our scientific world view of the universe as entirely entailed by law." Instead, he advocates an approach toscience that accounts for "unprestatable" creativity, thus allowing humans to fully realize their creative selves. The book will build off the ideas developed in his last two works, Reinventing the Sacred and Investigations. Incorporating philosophers like Kant and Descartes, as well as the scienceof Newton and Darwin, Humanity in a Creative Universe is Stuart Kauffman's argument for a creative and unpredictable view of modern science.

In the hard sciences, which can often feel out of grasp for many lay readers, there are "great thinkers" who go far beyond the equations, formulas, and research. Minds such as Stephen Hawking philosophize about the functions and nature of the universe, the implications of our existence, and other impossibly fascinating, yet difficult questions. Stuart A. Kauffman is one of those great thinkers. He has dedicated his lifetime to researching "complex systems" at prestigious institutions and now writes his treatise on the most complex system of all: our universe. A recent Scientific American article claims that "philosophy begins where physics ends, and physics begins where philosophy ends," and perhaps no better quote sums up what Kauffman's latest book offers. Grounded in his rigorous training and research background, Kauffman is inter-disciplinary in every sense of the word, sorting through the major questions and theories in biology, physics, and philosophy. Best known for his philosophy of evolutionary biology, Kauffman coined the term "prestatability" to call into question whether science can ever accurately and precisely predict the future development of biological features in organisms. As evidenced by the title's mention of creativity, the book refreshingly argues that our preoccupation to explain all things with scientific law has deadened our creative natures. In this fascinating read, Kauffman concludes that the development of life on earth is not entirely predictable, because no theory could ever fully account for the limitless variations of evolution. Sure to cause a stir, this book will be discussed for years to come and may even set the tone for the next "great thinker."

A major scientific revolution has begun, a new paradigm that rivals Darwin's theory in importance. At its heart is the discovery of the order that lies deep within the most complex of systems, from the origin of life, to the workings of giant corporations, to the rise and fall of great civilizations. And more than anyone else, this revolution is the work of one man, Stuart Kauffman, a MacArthur Fellow and visionary pioneer of the new science of complexity. Now, in At Home in the Universe, Kauffman brilliantly weaves together the excitement of intellectual discovery and a fertile mix of insights to give the general reader a fascinating look at this new science--and at the forces for order that lie at the edge of chaos. We all know of instances of spontaneous order in nature--an oil droplet in water forms a sphere, snowflakes have a six-fold symmetry. What we are only now discovering, Kauffman says, is that the range of spontaneous order is enormously greater than we had supposed. Indeed, self-organization is a great undiscovered principle of nature. But how does this spontaneous order arise? Kauffman contends that complexity itself triggers self-organization, or what he calls "order for free," that if enough different molecules pass a certain threshold of complexity, they begin to self-organize into a new entity--a living cell. Kauffman uses the analogy of a thousand buttons on a rug--join two buttons randomly with thread, then another two, and so on. At first, you have isolated pairs; later, small clusters; but suddenly at around the 500th repetition, a remarkable transformation occurs--much like the phase transition when water abruptly turns to ice--and the buttons link up in one giant network. Likewise, life may have originated when the mix of different molecules in the primordial soup passed a certain level of complexity and self-organized into living entities (if so, then life is not a highly improbable chance event, but almost inevitable). Kauffman uses the basic insight of "order for free" to illuminate a staggering range of phenomena. We see how a single-celled embryo can grow to a highly complex organism with over two hundred different cell types. We learn how the science of complexity extends Darwin's theory of evolution by natural selection: that self-organization, selection, and chance are the engines of the biosphere. And we gain insights into biotechnology, the stunning magic of the new frontier of genetic engineering--generating trillions of novel molecules to find new drugs, vaccines, enzymes, biosensors, and more. Indeed, Kauffman shows that ecosystems, economic systems, and even cultural systems may all evolve according to similar general laws, that tissues and terra cotta evolve in similar ways. And finally, there is a profoundly spiritual element to Kauffman's thought. If, as he argues, life were bound to arise, not as an incalculably improbable accident, but as an expected fulfillment of the natural order, then we truly are at home in the universe. Kauffman's earlier volume, The Origins of Order, written for specialists, received lavish praise. Stephen Jay Gould called it "a landmark and a classic." And Nobel Laureate Philip Anderson wrote that "there are few people in this world who ever ask the right questions of science, and they are the ones who affect its future most profoundly. Stuart Kauffman is one of these." In At Home in the Universe, this visionary thinker takes you along as he explores new insights into the nature of life.

Consider the complexity of a living cell after 3.8 billion years of evolution. Is it more awesome to suppose that a transcendent God fashioned the cell at a stroke, or to realize that it evolved with no Almighty Hand, but arose on its own in the c...

How did life start? Is the evolution of life describable by any physics-like laws? Stuart Kauffman's latest book offers an explanation-beyond what the laws of physics can explain-of the progression from a complex chemical environment to molecular reproduction, metabolism and to early protocells, and further evolution to what we recognize as life. Among the estimated one hundred billion solar systems in the known universe, evolving life is surely abundant. That evolution is a process of "becoming" in each case. Since Newton, we have turned to physics to assess reality. But physics alone cannot tell us where we came from, how we arrived, and why our world has evolved past the point of unicellular organisms to an extremely complex biosphere. Building on concepts from his work as a complex systems researcher at the Santa Fe Institute, Kauffman focuses in particular on the idea of cells constructing themselves and introduces concepts such as "constraint closure." Living systems are defined by the concept of "organization" which has not been focused on in enough in previous works. Cells are autopoetic systems that build themselves: they literally construct their own constraints on the release of energy into a few degrees of freedom that constitutes the very thermodynamic work by which they build their own self creating constraints. Living cells are "machines" that construct and assemble their own working parts. The emergence of such systems-the origin of life problem-was probably a spontaneous phase transition to self-reproduction in complex enough prebiotic systems. The resulting protocells were capable of Darwin's heritable variation, hence open-ended evolution by natural selection. Evolution propagates this burgeoning organization. Evolving living creatures, by existing, create new niches into which yet further new creatures can emerge. If life is abundant in the universe, this self-constructing, propagating, exploding diversity takes us beyond physics to biospheres everywhere.

More than a purely philosophical problem, straddling the ambivalent terrain between necessity and impossibility, contingency has become the very horizon of everyday life. Often used as a synonym for the precariousness of working conditions under neoliberalism, for the unknown threats posed by terrorism, or for the uncertain future of the planet itself, contingency needs to be calculated and controlled in the name of the protection of life. The overcoming of contingency is not only called upon to justify questionable mechanisms of political control; it serves as a central legitimating factor for Enlightenment itself. In this volume, nine major philosophers and theorists address a range of questions around contingency and moral philosophy. How can we rethink contingency in its creative aspects, outside the dominant rhetoric of risk and dangerous exposure? What is the status of contingency—as the unnecessary and law-defying—in or for ethics? What would an alternative “ethics of contingency”—one that does not simply attempt to sublate it out of existence—look like? The volume tackles the problem contingency has always posed to both ethical theory and dialectics: that of difference itself, in the difficult mediation between the particular and the universal, same and other, the contingent singularity of the event and the necessary generality of the norms and laws. From deconstruction to feminism to ecological thought, some of today’s most influential thinkers reshape many of the most debated concepts in moral philosophy: difference, agency, community, and life itself. Contributors: Étienne Balibar, Rosi Braidotti, Thomas Claviez, Drucilla Cornell, Hans Ulrich Gumbrecht, Viola Marchi, Michael Naas, Cary Wolfe, Slavoj Žižek

This enlightening examination of creativity looks “at art and science together to examine how innovations . . . build on what already exists and rely on three brain operations: bending, breaking and blending” (The Wall Street Journal) The Runaway Species is a deep dive into the creative mind, a celebration of the human spirit, and a vision of how we can improve our future by understanding and embracing our ability to innovate. David Eagleman and Anthony Brandt seek to answer the question: what lies at the heart of humanity’s ability—and drive—to create? Our ability to remake our world is unique among all living things. But where does our creativity come from, how does it work, and how can we harness it to improve our lives, schools, businesses, and institutions? Eagleman and Brandt examine hundreds of examples of human creativity through dramatic storytelling and stunning images in this beautiful, full–color volume. By drawing out what creative acts have in common and viewing them through the lens of cutting–edge neuroscience, they uncover the essential elements of this critical human ability, and encourage a more creative future for all of us. “The Runaway Species approach[es] creativity scientifically but sensitively, feeling its roots without pulling them out.” —The Economist

A penetrating take on how our planet would respond without the relentless pressure of the human presence

In this provocative collection of essays, an interdisciplinary group of eminent thinkers and writers offer their thoughts on how embracing creativity - tapping into the originality of everyday life - can lead to improved physical and mental health, to new ways of thinking, of experiencing the world and ourselves. They show how creativity can refine our views of human nature at an individual and societal level and, ultimately, change our paradigms for survival - and for flourishing - in a world fraught with urgent challenges.

Part treatise, part critique, part call to action, Reclaiming Art in the Age of Artifice is a journey into the uncanny realities revealed to us in the great works of art of the past and present. Received opinion holds that art is culturally-determined and relative. We are told that whether a picture, a movement, a text, or sound qualifies as a "work of art" largely depends on social attitudes and convention. Drawing on examples ranging from Paleolithic cave paintings to modern pop music and building on the ideas of James Joyce, Oscar Wilde, Gilles Deleuze, Carl Jung, and others, J.F. Martel argues that art is an inborn human phenomenon that precedes the formation of culture and even society. Art is free of politics and ideology. Paradoxically, that is what makes it a force of liberation wherever it breaks through the trance of humdrum existence. Like the act of dreaming, artistic creation is fundamentally mysterious. It is a gift from beyond the field of the human, and it connects us with realities that, though normally unseen, are crucial components of a living world. While holding this to be true of authentic art, the author acknowledges the presence—overwhelming in our media-saturated age—of a false art that seeks not to liberate but to manipulate and control. Against this anti-artistic aesthetic force, which finds some of its most virulent manifestations in modern advertising, propaganda, and pornography, true art represents an effective line of defense. Martel argues that preserving artistic expression in the face of our contemporary hyper-aestheticism is essential to our own survival. Art is more than mere ornament or entertainment; it is a way, one leading to what is most profound in us. Reclaiming Art in the Age of Artifice places art alongside languages and the biosphere as a thing endangered by the onslaught of predatory capitalism, spectacle culture, and myopic technological progress. The book is essential reading for visual artists, musicians, writers, actors, dancers, filmmakers, and poets. It will also interest anyone who has ever been deeply moved by a work of art, and for all who seek a way out of the web of deception and vampiric diversion that the current world order has woven around us.