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'Presented with extraordinary lucidity, cogencyand panache.Powerful and gripping .Tohave read [the book] is to have consulted a firstdraft of the structural plan of the human psyche. a glittering tour deforce'Hugh Lawson-Tancred, SpectatorIn this brilliant and controversial book, StevenPinker, one of the world's leading cognitivescientists, explains what the mind is, how itevolved, and how it allows us to see, think, feel,interact, enjoy the arts and ponder the mysteriesof life. And he does it with the clarity and stylethat earned The Language Instinct worldwidecritical acclaim and several major prizes.Pinker has a knack tor making the profound seem obviousof evolutionary insights' EconomistA landmark in popular scienceIndependentA fascinating bagA major public asset' MarekKohn,A model of scientific writing: erudite, witty and clear. An excellent book'Steve Jones, New York Review of Books'Marks out the territory on which the coming century's debate about humannature will be held' Oliver Morton, The New Yorker'Pinker has a remarkable capacity to explain difficult ideas and he writes withthe comic verve ol Martin Amis or Woody Allen . Haw the Mind Works willchange the way your mind works' Elaine Showalter. The TimesCover illu*rracion by Haw nil SubbiahAuthor photograph: Bethany Versoy0PENGUINISBN0J4491-3ScienceU.K. 9.99AUST. S 19.95(recommended)9020178OU0 M 24 i915

PENGUIN BOOKSH O W T H E M I N D WORKS'A witty, erudite, stimulating and provocative book that throws muchnew light on the machinery of the mind. An important book'Kenan Malik, Independent on Sunday'He has a great deal to say, much of it ground-breaking, some of ithighly controversial. a primer in remarkable science writing'Simon Garfield, Mail on Sunday'As lengthy as it is, it will produce a book in the reader's headthat is even longer. For it alters completely the way one thinksabout thinking, and its unforeseen consequences probablycan't be contained by a book Christopher Lehmann-Haupt,The New York Times'Witty popular science that you enjoy reading for the writing as wellas for the science. No other science writer makes me laugh so much. . . He is a top-rate writer, and deserves the superlatives that arelavished on him' Mark Ridley, The New York Times Book Review"The humour, breadth and clarity of thought. make this workessential reading for anyone curious about the human mind'Raymond Dolan, Observer

ABOUT THE AUTHORSteven Pinker, a native of Montreal, studied experimental psychologyat McGill University and Harvard University. After serving on the faculties of Harvard and Stanford universities he moved to the Massachusetts Institute of Technology, where he is currently Professor ofPsychology and Director of the Centre for Cognitive Neuroscience.Pinker has studied many aspects of language and of visual cognition,with a focus on language acquisition in children. He is a fellow of several scientific societies, and has been awarded research prizes from thethe National Academy of Sciences and the American PsychologicalAssociation, a teaching prize from MIT, and book prizes from theAmerican Psychological Association, the Linguistics Society of America and the Los Angeles Times. His classic The Language Instinct is alsoavailable in Penguin.


P E N G U I N BOOKSPublished by the Penguin GroupPenguin Books Ltd, 27 Wrights Lane, London W8 5TZ, EnglandPenguin Putnam Inc., 375 Hudson Street, New York, New York 10014, USAPenguin Books Australia Ltd, Ringwood, Victoria, AustraliaPenguin Books Canada Ltd, 10 Alcorn Avenue, Toronto, Ontario, Canada M4V 3B2Penguin Books (NZ) Ltd, 182-190 Wairau Road, Auckland 10, New ZealandPenguin Books Ltd, Registered Offices: Harmondsworth, Middlesex, EnglandFirst published in the USA by W. W. Norton 1997First published in Great Britain by Allen Lane The Penguin Press 1998Published in Penguin Books 19981 3 5 7 9 10 8 6 4 2Copyright Stephen Pinker, 1997All rights reservedThe notices on page 627 constitute an extension of this copyright pageThe moral right of the author has been assertedPrinted in England by Clays Ltd, St Ives picExcept in the United States of America, this book is sold subjectto the condition that it shall not, by way of trade or otherwise, be lent,re-sold, hired out, or otherwise circulated without the publisher'sprior consent in any form of binding or cover other than that inwhich it is published and without a similar condition including thiscondition being imposed on the subsequent purchaser


CONTENTSPrefaceixJ Standard Equipment32 Thinking Machines593 Revenge of the Nerds4 The Mind's Eye1492115 Good Ideas2996 Hotheads3637 Family Values8 The Meaning of Life425521Notes567References589Index629Vlld

PREFACEAny book called How the Mind Works had better begin on a noteof humility, and I will begin with two.First, we don't understand how the mind works—not nearly aswell as we understand how the body works, and certainly not wellenough to design Utopia or to cure unhappiness. Then why the audacious title? The linguist Noam Chomsky once suggested that our ignorance can be divided into problems and mysteries. When we face aproblem, we may not know its solution, but we have insight, increasingknowledge, and an inkling of what we are looking for. When we face amystery, however, we can only stare in wonder and bewilderment, notknowing what an explanation would even look like. I wrote this bookbecause dozens of mysteries of the mind, from mental images to romantic love, have recently been upgraded to problems (though there are stillsome mysteries, too!). Every idea in the book may turn out to be wrong,but that would be progress, because our old ideas were too vapid to bewrong.Second, J have not discovered what we do know about how the mindworks. Few of the ideas in the pages to follow are mine. I have selected,from many disciplines, theories that strike me as offering a specialinsight into our thoughts and feelings, that fit the facts and predict newones, and that are consistent in their content and in their style of explanation. My goal was to weave the ideas into a cohesive picture using twoeven bigger ideas that are not mine: the computational theory of mindand the theory of the natural selection of replicators.ix

x IHOW THE MIND WORKSThe opening chapter presents the big picture: that the mind is a system of organs of computation designed by natural selection to solve theproblems faced by our evolutionary ancestors in their foraging way of life.Each of the two big ideas—computation and evolution—then gets achapter. I dissect the major faculties of the mind in chapters on perception, reasoning, emotion, and social relations (family, loverS, rivals,friends, acquaintances, allies, enemies). A final chapter discusses ourhigher callings: art, music, literature, humor, religion, and philosophy.There is no chapter on language; my previous book The LanguageInstinct covers the topic in a complementary way.This book is intended for anyone who is curious about how the mindworks. I didn't write it only for professors and students, but I also didn'twrite it only to "popularize science." I am hoping that scholars and generalreaders both might profit from a bird's-eye view of the mind and how itenters into human affairs. At this high altitude there is little differencebetween a specialist and a thoughtful layperson because nowadays we specialists cannot be more than laypeople in most of our own disciplines, letalone neighboring ones. I have not given comprehensive literature reviewsor an airing of all sides to every debate, because they would have made thebook unreadable, indeed, unliftable. My conclusions come from assessments-of the convergence of evidence from different fields and methods,and I have provided detailed citations so readers can follow them Up.I have intellectual debts to many teachers, students, and colleagues,but most of all to John Tooby and Leda Cosmides. They forged the synthesis between evolution and psychology that made this book possible,and thought up many of the theories I present (and many of the betterjokes). By inviting me to spend a year as a Fellow of the Center for Evolutionary Psychology at the University of California, Santa Barbara, theyprovided an ideal environment for thinking and writing and immeasurable friendship and advice.I am deeply grateful to Michael Gazzaniga, Marc Hauser, David Kemmerer, Gary Marcus, John Tooby, and Margo Wilson for their relading ofthe entire manuscript and their invaluable criticism and encouragement.Other colleagues generously commented on chapters in their areas ofexpertise: Edward Adelson, Barton Anderson, Simon Baron-Cohien, NedBlock, Paul Bloom, David Brainard, David Buss, John Constable, LedaCosmides, Helena Cronin, Dan Dennett, David Epstein, Alan Fridlund,Gerd Gigerenzer, Judith Harris, Richard Held, Ray Jackendoff, AlexKacelnik, Stephen Kosslyn, Jack Loomis, Charles Oman, Bernard Sher-

Prefaceximan, Paul Smolensky, Elizabeth Spelke, Frank Sulloway, DonaldSymons, and Michael Tarr. Many others answered queries and offeredprofitable suggestions, including Robert Boyd, Donald Brown, NapoleonChagnon, Martin Daly, Richard Dawkins, Robert Hadley, James Hillenbrand, Don Hoffman, Kelly Olguin Jaakola, Timothy Ketelaar, RobertKurzban, Dan Montello, Alex Pentland, Roslyn Pinker, Robert Provine,Whitman Richards, Daniel Schacter, Devendra Singh, Pawan Sinha,Christopher Tyler, Jeremy Wolfe, and Robert Wright.This book is a product of the stimulating environments at two institutions, the Massachusetts Institute of Technology and the University ofCalifornia, Santa Barbara. Special thanks go to Emilio Bizzi of theDepartment of Brain and Cognitive Sciences at MIT for enabling me totake a sabbatical leave, and to Loy Lytle and Aaron Ettenberg of theDepartment of Psychology and to Patricia Clancy and Marianne Mithunof the Department of Linguistics at UCSB for inviting me to be a Visiting Scholar in their departments.Patricia Claffey of MIT's Teuber Library knows everything, or at leastknows where to find it, which is just as good. I am grateful for her indefatigable efforts to track down the obscurest material with swiftness andgood humor. My secretary, the well-named Eleanor Bonsaint, offeredprofessional, cheerful help in countless matters. Thanks go also to Marianne Teuber and to Sabrina Detmar and Jennifer Riddell of MIT's ListVisual Arts Center for advice on the jacket art.My editors, Drake McFeely (Norton), Howard Boyer (now at theUniversity of California Press), Stefan McGrath (Penguin), and RaviMirchandani (now at Orion), offered fine advice and care throughout. Iam also grateful to my agents, John Brockman and Katinka Matson, fortheir efforts on my behalf and their dedication to science writing. Specialappreciation goes to Katya Rice, who has now worked with me on fourbooks over fourteen years. Her analytical eye and masterly touch haveimproved the books and have taught me much about clarity and style.My heartfelt gratitude goes to my family for their encouragement andsuggestions: to Harry, Roslyn, Robert, and Susan Pinker, Martin, Eva,Carl, and Eric Boodman, Saroja Subbiah, and Stan Adams. Thanks, too,to Windsor, Wilfred, and Fiona.Greatest thanks of all go to my wife, Ilavenil Subbiah, who designedthe figures, provided invaluable comments on the manuscript, offeredconstant advice, support, and kindness, and shared in the adventure.This book is dedicated to her, with love and gratitude.

HOW THE MIND WORKSMy research on mind and language has been supported by the NationalInstitutes of Health (grant HD 18381), the National Science Foundation(grants 82-09540, 85-18774, and 91-09766), and the McDonnell-PewCenter for Cognitive Neuroscience at MIT.



1STANDARD EQUIPMENThy are there so many robots in fiction, but none in real life? Iwould pay a lot for a robot that could put away the dishes orrun simple errands. But I will not have the opportunity inthis century, and probably not in the next one either. There are, of course,robots that weld or spray-paint on assembly lines and that roll throughlaboratory hallways; my question is about the machines that walk, talk,see, and think, often better than their human masters. Since 1920, whenKarel Capek coined the word robot in his play R.U.R., dramatists havefreely conjured them up: Speedy, Cutie, and Dave in Isaac Asimov's I,Robot, Robbie in Forbidden Planet, the flailing canister in Lost in Space,the daleks in Dr. Who, Rosie the Maid in Thejetsons, Nomad in Star Trek,Hymie in Get Smart, the vacant butlers and bickering haberdashers inSleeper, R2D2 and C3PO in Star Wars, the Terminator in The Terminator,Lieutenant Commander Data in Star Trek: The Next Generation, and thewisecracking film critics in Mystery Science Theater 3000.WThis book is not about robots; it is about the human mind. I will try toexplain what the mind is, where it came from, and how it lets us see,think, feel, interact, and pursue higher callings like art, religion, and philosophy. On the way I will try to throw light on distinctively humanquirks. Why do memories fade? How does makeup change the look of aface? Where do ethnic stereotypes come from, and when are they irrational? Why do people lose their tempers? What makes children bratty?Why do fools fall in love? What makes us laugh? And why do peoplebelieve in ghosts and spirits?3

41 HOW THE MIND WORKSBut the gap between robots in imagination and in reality is my starting point, for it shows the first step we must take in knowing Ourselves:appreciating the fantastically complex design behind feats of mental lifewe take for granted. The reason there are no humanlike robots is not thatthe very idea of a mechanical mind is misguided. It is that the engineering problems that we humans solve as we see and walk and plan andmake it through the day are far more challenging than landing on themoon or sequencing the human genome. Nature, once again, has foundingenious solutions that human engineers cannot yet duplicate. WhenHamlet says, "What a piece of work is a man! how noble in reason! howinfinite in faculty! in form and moving how express and admirable!" weshould direct our awe not at Shakespeare or Mozart or Einstein orKareem Abdul-Jabbar but at a four-year old carrying out a request to puta toy on a shelf.In a well-designed system, the components are black boxes that perform their functions as if by magic. That is no less true of the mind. Thefaculty with which we ponder the world has no ability to peer insideitself or our other faculties to see what makes them tick. That makes usthe victims of an illusion: that our own psychology comes from somedivine force or mysterious essence or almighty principle. In the Jewishlegend of the Golem, a clay figure was animated when it was fed aninscription of the name of God. The archetype is echoed in many robotstories. The statue of Galatea was brought to life by Venus' answer toPygmalion's prayers; Pinocchio was vivified by the Blue Fairy. Modernversions of the Golem archetype appear in some of the less fanciful stories of science. All of human psychology is said to be explained by a single, omnipotent cause: a large brain, culture, language, socialization,learning, complexity, self-organization, neural-network dynamics.I want to convince you that our minds are not animated, by somegodly vapor or single wonder principle. The mind, like the Apollo spacecraft, is designed to solve many engineering problems, and thus ispacked with high-tech systems each contrived to overcome its ownobstacles. I begin by laying out these problems, which are both designspecs for a robot and the subject matter of psychology. For I bejlieve thatthe discovery by cognitive science and artificial intelligence of the technical challenges overcome by our mundane mental activity is one of thegreat revelations of science, an awakening of the imagination colmparableto learning that the universe is made up of billions of galaxies) or that adrop of pond water teems with microscopic life.

Standard Equipment5THE ROBOT CHALLENGEWhat does it take to build a robot? Let's put aside superhuman abilitieslike calculating planetary orbits and begin with the simple human ones:seeing, walking, grasping, thinking about objects and people, and planning how to act.In movies we are often shown a scene from a robot's-eye view, withthe help of cinematic conventions like fish-eye distortion or crosshairs.That is fine for us, the audience, who already have functioning eyes andbrains. But it is no help to the robot's innards. The robot does not housean audience of little people—homunculi—gazing at the picture andtelling the robot what they are seeing. If you could see the world througha robot's eyes, it would look not like a movie picture decorated withcrosshairs but something like 30134

6 HOW THE MIND WORKSEach number represents the brightness of one of the millions of tinypatches making up the visual field. The smaller numbers come fromdarker patches, the larger numbers from brighter patches. The numbersshown in the array are the actual signals coming from an electronic camera trained on a person's hand, though they could just as well be the firing rates of some of the nerve fibers coming from the eye to the brain asa person looks at a hand. Vox a robot hrain—or a human brain-—to recognize objects and not bump into them, it must crunch these numbers andguess what kinds of objects in the world reflected the iight that gave riseto them. The problem is humblingly difficult.First, a visual system must locate where an object ends and the backdrop begins. But the world is not a coloring book, with black outlinesaround solid regions. The world as it is projected into our eyes is a mosaicof tiny shaded patches. Perhaps, one could guess, the visual brain looks forregions where a quilt of large numbers (a brighter region) abuts a quilt ofsmall numbers (a darker region). You can discern such a boundary in thesquare of numbers; it runs diagonally from the top right to the bottom center. Most of the time, unfortunately, you would not have found the edge ofan object, where it gives way to empty space. The juxtaposition of large andsmall numbers could have come from many distinct arrangements of matter. This drawing, devised by the psychologists Pawan Sinha and EdwardAdelson, appears to show a ring of light gray and dark gray tiles.

Standard Equipment'7In fact, it is a rectangular cutout in a black cover through which you arelooking at part of a scene. In the next drawing the cover has beenremoved, and you can see that each pair of side-by-side gray squarescomes from a different arrangement of objects.Big numbe

Penguin Books Canada Ltd, 10 Alcorn Avenue, Toronto, Ontario, Canada M4V 3B2 Penguin Books (NZ) Ltd, 182-190 Wairau Road, Auckland 10, New Zealand Penguin Books Ltd, Registered Offices: Harmondsworth, Middlesex, England First published in the USA by W. W. Norton 1997 First published in Great Britain by Allen Lane The Penguin Press 1998 .