Bakker pursued a PhD in philosophy then decided to become a writer rather than make a career in academia. He still writes journal articles and speaks at conferences.What is the lesson that Tolkien teaches us with Middle-earth? The grand moral, I think, is that the illusion of a world can be so easily cued. Tolkien reveals that meaning is cheap, easy to conjure, easy to believe, so long as we sit in our assigned seats. This is the way, at least, I thematically approach my own world-building. Like a form of cave-painting.
The idea here is to look at culture as a meaning machine, where ‘meaning’ is understood not as content, but in a post-intentional sense: various static and dynamic systems cuing various ‘folk’ forms of human cognition. Think of the wonder of the ‘artists’ in Chauvet, the amazement of discovering how to cue the cognition of worlds upon walls using only charcoal. Imagine that first hand, that first brain, tracking that reflex within itself, simply drawing a blacked finger down the wall.
Traditional accounts, of course, would emphasize the symbolic or representational significance of events such as Chauvet, thereby dragging the question of the genesis of human culture into the realm of endless philosophical disputation. On a post-intentional view, however, what Chauvet vividly demonstrates is how human cognition can be easily triggered out of school. Human cognition is so heuristic, in fact, that it has little difficulty simulating those cues once they have been discovered. Since human cognition also turns out to be wildly opportunistic, the endless socio-practical gerrymandering characterizing culture was all but inevitable. Where traditional views of the ‘human revolution’ focus on utterly mysterious modes of symbolic transmission and elaboration, the present account focuses on the processes of cue isolation and cognitive adaptation. What are isolated are material/behavioural means of simulating cues belonging to ancestral forms of cognition. What is adapted is the cognitive system so cued: the cave paintings at Chauvet amount to a socio-cognitive adaptation of visual cognition, a way to use visual cognitive cues ‘out of school’ to attenuate behaviour. Though meaning, understood intentionally, remains an important explanandum in this approach, ‘meaning’ understood post-intentionally simply refers to the isolation and adaptation of cue-based cognitive systems to achieve some systematic behavioural effect. The basic processes involved are no more mysterious than those underwriting camouflage in nature. [...]
Met, this will be catnip to you, I think.