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While widely acknowledged in the cultural evolution literature, ecological factors-aspects of the physical environment that affect the way in which cultural productions evolve-have not been investigated experimentally. Here, we present an experimental investigation of this type of factor by using a transmission chain (iterated learning) experiment. We predicted that differences in the distance between identical tools (drums) and in the order in which they are to be used would cause the evolution of different rhythms. The evidence confirms our predictions and thus provides a proof of concept that ecological factors-here a motor constraint-can influence cultural productions and that their effects can be experimentally isolated and measured. One noteworthy finding is that ecological factors can on their own lead to more complex rhythms. [ABSTRACT FROM AUTHOR]

The spatial composition of human portraits obeys historically changing cultural norms. We show that it is also affected by cognitive factors that cause greater spontaneous attention to what is in front rather in the back of an agent. Scenes with more space in front of a directed object are both more often produced and judged as more aesthetically pleasant. This leads to the prediction that, in profile‐oriented human portraits, compositions with more space in front of depicted agents (a "forward bias") should be over‐represented. By analyzing a large dataset (total N of 1,831 paintings by 582 unique identified European painters from the 15th to the 20th century), we found evidence of this forward bias: Painters tended to put more free space in front of, rather than behind, the sitters. Additionally, we found evidence that this forward bias became stronger when cultural norms of spatial composition favoring centering became less stringent. [ABSTRACT FROM AUTHOR]

Zipf’s law of abbreviation, relating more frequent signals to shorter signal lengths, applies to sounds in a variety of communication systems, both human and non-human. It also applies to writing systems: more frequent words tend to be encoded by less complex graphemes, even when grapheme complexity is decoupled from word length. This study documents an exception to this law of abbreviation. Observing European heraldic motifs, whose frequency of use was documented for the whole continent and over two large corpora (total N = 25115), one medieval, one early modern, we found that they do not obey a robust law of abbreviation. In our early modern corpus, motif complexity and motif frequency are positively, not negatively, correlated, a result driven by iconic motifs. In both our corpora, iconic motifs tend to be more frequent when more complex. They grew in popularity after the invention of printing. Our results suggest that lacking iconicity may be a precondition for a graphic code to exhibit Zipf’s Law of Abbreviation. [ABSTRACT FROM AUTHOR]

Zipf's Law of Abbreviation – the idea that more frequent symbols in a code are simpler than less frequent ones – has been shown to hold at the level of words in many languages. We tested whether it holds at the level of individual written characters. Character complexity is similar to word length in that it requires more cognitive and motor effort for producing and processing more complex symbols. We built a dataset of character complexity and frequency measures covering 27 different writing systems. According to our data, Zipf's Law of Abbreviation holds for every writing system in our dataset — the more frequent characters have lower degrees of complexity and vice-versa. This result provides further evidence of optimization mechanisms shaping communication systems. [ABSTRACT FROM AUTHOR]

In the last decade, cultural transmission experiments (transmission chains, replacement, closed groups and seeded groups) have become important experimental tools in investigating cultural evolution. However, these methods face important challenges, especially regarding the operationalization of theoretical claims. In this review, we focus on the study of cumulative cultural evolution, the process by which traditions are gradually modified and, for technological traditions in particular, improved upon over time. We identify several mismatches between theoretical definitions of cumulative culture and their implementation in cultural transmission experiments. We argue that observed performance increase can be the result of participants learning faster in a group context rather than effectively leading to a cumulative effect. We also show that in laboratory experiments, participants are asked to complete quite simple tasks, which can undermine the evidential value of the diagnostic criterion traditionally used for cumulative culture (i.e. that cumulative culture is a process that produces solutions that no single individual could have invented on their own). We show that the use of unidimensional metrics of cumulativeness drastically curtail the variation that may be observed, which raises specific issues in the interpretation of the experimental evidence. We suggest several solutions to these mismatches (learning times, task complexity and variation) and develop the use of design spaces in experimentally investigating old and new questions about cumulative culture. [ABSTRACT FROM AUTHOR]

Homophobia encompasses a variety of attitudes and behaviors with distinct causal paths. We focus on aggressive homophobia, a propensity to feel anger and express aggression toward gay men. We investigated the conjecture that homosexual males might be seen, in recent Western cultures, as defectors from collective group defense. We predicted that consistent with a functional motive to punish and deter free riding, the perception of gay men as defectors would motivate aggression toward gay men. We also predicted that individuals with greater commitment to group defense might show more aggressive homophobia (as these individuals have more to lose from the defection than individuals who are not committed to group defense). Study 1 showed that aggressive homophobia correlated positively with the tendency to implicitly associate gay men with defection from group defense. Study 2 showed that a tendency to punish homosexual males for a theft correlated positively with commitment to group defense. The findings suggest that coalitional psychology might contribute to explaining the existence and quality of certain kinds of social stigma. [ABSTRACT FROM AUTHOR]

Two frameworks – cultural attraction theory and epistemic vigilance – predict a cultural disadvantage for counter-intuitive beliefs. We review several cognitive mechanisms that conspire to render pro-vaccination beliefs counter-intuitive. Trust and argumentation can spread counter-intuitive beliefs, but only under some conditions. We discuss the hurdles that trust and argumentation face in the case of vaccination. [ABSTRACT FROM AUTHOR]

A writing system is a graphic code, i.e., a system of standardized pairings between symbols and meanings in which symbols take the form of images that can endure. The visual character of writing implies that written characters have to fit constraints of the human visual system. One aspect of this optimization lays in the graphic complexity of the characters used by scripts. Scripts are sets of graphic characters used for the written form of one language or more. Using computational methods over a large and diverse dataset (over 47,000 characters, from over 133 scripts), we answer three central questions about the visual complexity of written characters and the evolution of writing: (1) What determines character complexity? (2) Can we find traces of evolutionary change in character complexity? (3) Is complexity distributed in a way that makes character recognition easier? Our study suggests that (1) character complexity depends primarily on which linguistic unit the characters encode, and that (2) there is little evidence of evolutionary change in character complexity. Additionally (3) for an individual character, the half which is encountered first while reading tends to be more complex than that which is encountered last. [ABSTRACT FROM AUTHOR]

With the increase in massive digitized datasets of cultural artefacts, social and cultural scientists have an unprecedented opportunity for the discovery and expansion of cultural theory. The WikiArt dataset is one such example, with over 250,000 high quality images of historically significant artworks by over 3000 artists, ranging from the 15th century to the present day; it is a rich source for the potential mining of patterns and differences among artists, genres, and styles. However, such datasets are often difficult to analyse and use for answering complex questions of cultural evolution and divergence because of their raw formats as image files, which are represented as multi-dimensional tensors/matrices. Recent developments in machine learning, multi-modal data analysis and image processing, however, open the door for us to create representations of images that extract important, domain-specific features from images. Art historians have long emphasised the importance of art style, and the colors used in art, as ways to characterise and retrieve art across genre, style, and artist. In this paper, we release a massive vector-based dataset of paintings (WikiArtVectors), with style representations and color distributions, which provides cultural and social scientists with a framework and database to explore relationships across these two vital dimensions. We use state-of-the-art deep learning and human perceptual color distributions to extract the representations for each painting, and aggregate them across artist, style, and genre. These vector representations and distributions can then be used in tandem with information-theoretic and distance metrics to identify large-scale patterns across art style, genre, and artist. We demonstrate the consistency of these vectors, and provide early explorations, while detailing future work and directions. All of our data and code is publicly available on GitHub. [ABSTRACT FROM AUTHOR]

A familiar story about the evolution of alphabets is that individual letters originated in iconic representations of real things. Over time, these naturalistic pictures became simplified into abstract forms. Thus, the iconic ox's head of Egyptian hieroglyphics transformed into the Phoenician and eventually the Roman letter A. In this vein, attempts to theorize the evolution of writing have tended to propose variations on a model of unilinear and unidirectional progression. According to this progressivist formula, pictorial scripts will tend to become more schematic while their systems will target smaller linguistic units. Objections to this theory point to absent, fragmentary, or contrary paleographic evidence, especially for predicted transitions in the underlying grammatical systems of writing. However, the forms of individual signs, such as the letter A , are nonetheless observed to change incrementally over time. We claim that such changes are predictable and that scripts will in fact become visually simpler in the course of their use, a hypothesis regularly confirmed in transmission chain experiments that use graphic stimuli. To test the wider validity of this finding, we turn to the Vai script of Liberia, a syllabic writing system invented in relative isolation by nonliterates in ca. 1833. Unlike the earliest systems of the ancient world, Vai has the advantage of having been systematically documented from its earliest beginnings until the present day. Using established methods for quantifying visual complexity, we find that the Vai script has become increasingly compressed over the first 171 years of its history, complementing earlier claims and partial evidence that similar processes were at work in early writing systems. As predicted, letters simplified to a greater extent when their initial complexity was higher. [ABSTRACT FROM AUTHOR]

Research on social transmission suggests that people preferentially transmit information about threats and social interactions. Such biases might be driven by the arousal that is experienced as part of the emotional response triggered by information about threats or social relationships. The current studies tested whether preferences for transmitting threat-relevant information are consistent with a functional motive to recruit social support. USA residents were recruited for six online studies. Studies 1a and 1B showed that participants more often chose to transmit positive, lowarousal vignettes (rather than negative, high-arousal vignettes involving threats and social interactions). Studies 2A and 2B showed higher intentions to transmit emotional vignettes (triggering disgust, fear, anger, or sadness) to friends (rather than to strangers or disliked acquaintances). Study 4 showed a preference for transmitting stories that participants had modified and were therefore novel and unique. Studies 2A and 3 (but not Studies 2B and 4) suggest that motivations for seeking social support might influence transmission preferences. Overall, the findings are not easily accounted for by any of the major theories of social transmission. We discuss limitations of the current studies and directions for further research. [ABSTRACT FROM AUTHOR]

The two target articles agree that processes of cultural evolution generate richness and diversity in music, but neither address this question in a focused way. We sketch one way to proceed – and hence suggest how the target articles differ not only in empirical claims, but also in their tacit, prior assumptions about the relationship between cognition and culture. [ABSTRACT FROM AUTHOR]