"Greed, for lack of a better word, is good. Greed is right. Greed works. Greed clarifies, cuts through, and captures the essence of the evolutionary spirit." "From the outset [in 1976] the reviews were gratifyingly favorable and it [The Selfish Gene] was not seen, initially, as a controversial book. Its reputation for contentiousness took years to grow until, by now, it is widely regarded as a work of radical extremism. But over the very same years as the book’s reputation for (...) extremism has escalated, its actual content has seemed less and less extreme, more and more the common currency." How could it be that Dawkins’ most famous book became controversial, but not as a result of what it .. (shrink)

Ever since The Origin of Species, but increasingly in recent years, parallels and analogies have been drawn between biological and cultural evolution, and methods, concepts, and theories that have been developed in evolutionary biology have been used to explain aspects of human cultural change (e.g., Muller 1870; Darwin [1871] 2003; Pitt-Rivers 1875; James 1880; Huxley 1955; Gerard et al. 1956; Campbell 1975; Cavalli-Sforza and Feldman 1981; Durham 1992; Henrich and McElreath 2003; Mesoudi et al. 2004, 2006; Boyd and Richerson 2005; (...) Richerson and Boyd 2005). Many others, however, while accepting the need for some form of evolutionary approach to culture, have consistently emphasized the differences between biological and cultural evolution (e.g., Gabora 2004; Sperber and Claidiere 2006; Tëmkin and Eldredge 2007), with these differences often presented as being problematic for existing evolutionary analyses of culture. Here I argue that this is largely a false debate, given that its protagonists agree on the majority of key points. Apparent disagreement may stem partly from simple differences in emphasis, and partly from the diversity of both biological and cultural evolutionary processes. (shrink)

Two recent attempts to clarify misunderstandings about the nature of cultural evolution came to very different conclusions, based on very different understandings of what evolves and how. This paper begins by examining these two ‘clarifications’ in order to reveal their key differences, and goes on to rethink how culture evolves by focussing on the role of cognitive structure, or worldview.

The commentaries on Evolution in Four Dimensions reflect views ranging from total adherence to gene-centered neo-Darwinism, to the acceptance of non-genetic and Lamarckian processes in evolution. We maintain that genetic, epigenetic, behavioral, and cultural variations have all been significant, and that the developmental aspects of heredity and evolution are an important bridge that can unite seemingly conflicting research programs and different disciplines.

Novice designers produced a sequence of sketches while inventing a logo for a novel brand of soft drink. The sketches were scored for the presence of specific objects, their local features and global composition. Self‐assessment scores for each sketch and art critics' scores for the end products were collected. It was investigated whether the design evolves in an essentially random fashion or according to an overall heuristic. The results indicated a macrostructure in the evolution of the design, characterized by two (...) stages. For the majority of participants, the first stage is marked by the introduction and modification of novel objects and their local and global aspects; the second stage is characterized by changes in their global composition. The minority that showed the better designs has a different strategy, in which most global changes were made in the beginning. Although participants did not consciously apply these strategies, their self‐assessment scores reflect the stages of the process. (shrink)

Novice designers produced a sequence of sketches while inventing a logo for a novel brand of soft drink. The sketches were scored for the presence of specific objects, their local features and global composition. Self‐assessment scores for each sketch and art critics' scores for the end products were collected. It was investigated whether the design evolves in an essentially random fashion or according to an overall heuristic. The results indicated a macrostructure in the evolution of the design, characterized by two (...) stages. For the majority of participants, the first stage is marked by the introduction and modification of novel objects and their local and global aspects; the second stage is characterized by changes in their global composition. The minority that showed the better designs has a different strategy, in which most global changes were made in the beginning. Although participants did not consciously apply these strategies, their self‐assessment scores reflect the stages of the process. (shrink)

Novice designers produced a sequence of sketches while inventing a logo for a novel brand of soft drink. The sketches were scored for the presence of specific objects, their local features and global composition. Self‐assessment scores for each sketch and art critics' scores for the end products were collected. It was investigated whether the design evolves in an essentially random fashion or according to an overall heuristic. The results indicated a macrostructure in the evolution of the design, characterized by two (...) stages. For the majority of participants, the first stage is marked by the introduction and modification of novel objects and their local and global aspects; the second stage is characterized by changes in their global composition. The minority that showed the better designs has a different strategy, in which most global changes were made in the beginning. Although participants did not consciously apply these strategies, their self‐assessment scores reflect the stages of the process. (shrink)

This paper uses autocatalytic networks to model discontinuous cultural transitions involving cross-domain transfer, using as an illustrative example, artworks inspired by the oldest-known uncontested example of figurative art: the carving of the Hohlenstein-Stadel Löwenmensch, or lion-human. Autocatalytic networks provide a general modeling setting in which nodes are not just passive transmitters of activation; they actively galvanize, or “catalyze” the synthesis of novel nodes from existing ones This makes them uniquely suited to model how new structure grows out of earlier structure, (...) i.e., cumulative, generative network growth. They have been used to model the origin and early evolution of biological life, and the emergence of cognitive structures capable of undergoing cultural evolution. We conducted a study in which six individual creators and one group generated music, prose, poetry, and visual art inspired by the Hohlenstein-Stadel Löwenmensch, and answered questions about the process. The data revealed four through-lines by which they expressed the Löwenmensch in an alternative art form: lion-human hybrid, subtracting from the whole to reveal the form within, deterioration, and waiting to be found with a story to tell. Autocatalytic networks were used to model how these four spontaneously derived through-lines form a cultural lineage from Löwenmensch to artist to audience. We used the resulting data from three creators to model the cross-domain transfer from inspirational source to creative product. These four spontaneously-generated threads of cultural continuity formed the backbone of this Löwenmensch-inspired cultural lineage, enabling culture to evolve even in the face of discontinuity at the level conventional categories or domains. We know of no other theory of cultural evolution that accommodates cross-domain transfer or other forms of discontinuity. The approach paves the way for a broad scientific framework for the origins of evolutionary processes. (shrink)

Selection theory requires multiple, simultaneously-actualized states. In cognition, each thought changes the “selection pressure” against which the next is evaluated; they are not simultaneously selected amongst. Cognitive change occurs not through selection among discrete “neural configurations,” but through interaction between conceptual web and context. This introduces a non-Kolmogorovian probability distribution, hence a classical formalism (e.g., selection theory) cannot be used.

This paper reviews and clarifies five misunderstandings about cultural evolution identified by Henrich et al.. First, cultural representations are neither discrete nor continuous; they are distributed across neurons that respond to microfeatures. This enables associations to be made, and cultural change to be generated. Second, ‘replicator dynamics’ do not ensure natural selection. The replicator notion does not capture the distinction between actively interpreted self-assembly code and passively copied self-description, which leads to a fundamental principle of natural selection: inherited information is (...) transmitted, whereas acquired information is not. Third, this principle is violated in culture by the ubiquity of acquired change. Moreover, biased transmission is less important to culture than the creative processes by which novelty is generated. Fourth, there is no objective basis for determining cultural fitness. Fifth, the necessity of randomness is discussed. It is concluded that natural selection inappropriate is an explanatory framework for culture. (shrink)

The argument that heritable epigenetic change plays a distinct role in evolution would be strengthened through recognition that it is what bootstrapped the origin and early evolution of life, and that, like behavioral and symbolic change, it is non-Darwinian. The mathematics of natural selection, a population-level process, is limited to replication with negligible individual-level change that uses a self-assembly code.

Selection theory requires multiple, distinct, simultaneously-actualized states. In cognition, each thought or cognitive state changes the 'selection pressure' against which the next is evaluated; they are not simultaneously selected amongst. Creative thought is more a matter of honing in a vague idea through redescribing successive iterations of it from different real or imagined perspectives; in other words, actualizing potential through exposure to different contexts. It has been proven that the mathematical description of contextual change of state introduces a non-Kolmogorovian probability (...) distribution, and a classical formalism such as selection theory cannot be used. This paper argues that creative thought evolves not through a Darwinian process, but a process of context-driven actualization of potential. (shrink)