Value is commonly divided into the intrinsic – what is good (or bad) “in itself” – and the instrumental, what is valuable as a means. This chapter describes two kinds of “value in itself.” The first comprises experiences of certain rewarding kinds; the second comprises objects of experience having intrinsic properties in virtue of which these objects can be central in intrinsically valuable experiences. This threefold conception – of intrinsic, inherent, and instrumental values – is explained, illustrated, and enhanced by accommodating contributory value, yielding a multi-dimensional value theory. Hedonism is shown to be more plausible than generally realized but also too narrow. In showing this, the valuational pluralism of the chapter is extended to include intrinsic moral value as a distinct kind, and the organic character of value, inherent as well as intrinsic, is illustrated and clarified; and the organicity of inherent value is shown also to apply to reasons for action.

This chapter shows that a lack of self-consciously literary excess in Kipling’s prose was sometimes mistaken for the absence of style. Yet there is a control in Kipling’s writing that a careful and sensitive reading can access. The chapter considers a particular habit of punctuation in Kipling: the use of a semicolon followed by a strictly superfluous ‘and’. This mark of punctuation advertises the writtenness of the prose and so signals the presence of a knowing narrator, whilst also raising questions about causation and consequence.

The present collection of vignettes contains a rich assortment of individual cases, each exemplifying important behavioral innovations. With so much variation, it would seem to be an impossible task to identify any underlying commonalities among them. Nevertheless, I believe that context, consequence, and coincidence can help us understand the origin and evolution of creative behavioral innovations. Along the way, we encountered the challenges posed by multiple individuals arriving at the same behavioral innovation. We considered the profound parallel between the Law of Natural Selection and the Law of Effect. We saw the theoretical emptiness of notions like genius, insight, and intelligent design. We recognized both the benefits and shortcomings of storytelling as a form of persuasive communication. And, we appreciated that a natural science of behavioral innovation is as applicable to nonhuman animals as it is to human beings – all are just making it up as they go along!

In my book, I explore the origin and evolution of a variety of behavioral innovations – including the Butterfly Stroke, the High Five, and the Heimlich Maneuver – which appear to have been ingeniously and foresightfully designed. More commonly, however, these creative acts have actually arisen “as if by design.” This revelation requires a much more thorough look into the histories of these innovations in order to better understand the very nature of behavioral creativity. What emerges is an intricate web of causation involving three main factors: context, consequence, and coincidence. By concentrating on the process rather than the product of innovation, I elevate behavior to its proper place – at the very center of creative human endeavor – for it is truly behavior that produces the innumerable innovations that have captivated thinkers’ imagination. Those most splendid theories, goods, and gadgets would never have come into being without the behaviors of their inventors.

In my book, I explore the origin and evolution of a variety of behavioral innovations – including the Butterfly Stroke, the High Five, and the Heimlich Maneuver – which appear to have been ingeniously and foresightfully designed. More commonly, however, these creative acts have actually arisen “as if by design.” This revelation requires a much more thorough look into the histories of these innovations in order to better understand the very nature of behavioral creativity. What emerges is an intricate web of causation involving three main factors: context, consequence, and coincidence. By concentrating on the process rather than the product of innovation, I elevate behavior to its proper place – at the very center of creative human endeavor – for it is truly behavior that produces the innumerable innovations that have captivated thinkers’ imagination. Those most splendid theories, goods, and gadgets would never have come into being without the behaviors of their inventors.