Style of pictorial representation is shaped by intergroup contact

The puzzle of ideography

An ideography is a general-purpose code made of pictures that do not encode language, which can be used autonomously - not just as a mnemonic prop - to encode information on a broad range of topics. Why are viable ideographies so hard to find? I contend that self-sufficient graphic codes need to be narrowly specialized. Writing systems are only an apparent exception: At their core, they are notations of a spoken language. Even if they also encode nonlinguistic information, they are useless to someone who lacks linguistic competence in the encoded language or a related one. The versatility of writing is thus vicarious: Writing borrows it from spoken language. Why is it so difficult to build a fully generalist graphic code? The most widespread answer points to a learnability problem. We possess specialized cognitive resources for learning spoken language, but lack them for graphic codes. I argue in favor of a different account: What is difficult about graphic codes is not so much learning or teaching them as getting every user to learn and teach the same code. This standardization problem does not affect spoken or signed languages as much. Those are based on cheap and transient signals, allowing for easy online repairing of miscommunication, and require face-to-face interactions where the advantages of common ground are maximized. Graphic codes lack these advantages, which makes them smaller in size and more specialized.

Expression unleashed: The evolutionary and cognitive foundations of human communication

Human expression is open-ended, versatile, and diverse, ranging from ordinary language use to painting, from exaggerated displays of affection to micro-movements that aid coordination. Here we present and defend the claim that this expressive diversity is united by an interrelated suite of cognitive capacities, the evolved functions of which are the expression and recognition of informative intentions. We describe how evolutionary dynamics normally leash communication to narrow domains of statistical mutual benefit, and how expression is unleashed in humans. The relevant cognitive capacities are cognitive adaptations to living in a partner choice social ecology; and they are, correspondingly, part of the ordinarily developing human cognitive phenotype, emerging early and reliably in ontogeny. In other words, we identify distinctive features of our species' social ecology to explain how and why humans, and only humans, evolved the cognitive capacities that, in turn, lead to massive diversity and open-endedness in means and modes of expression. Language use is but one of these modes of expression, albeit one of manifestly high importance. We make cross-species comparisons, describe how the relevant cognitive capacities can evolve in a gradual manner, and survey how unleashed expression facilitates not only language use, but also novel behaviour in many other domains too, focusing on the examples of joint action, teaching, punishment, and art, all of which are ubiquitous in human societies but relatively rare in other species. Much of this diversity derives from graded aspects of human expression, which can be used to satisfy informative intentions in creative and new ways. We aim to help reorient cognitive pragmatics, as a phenomenon that is not a supplement to linguistic communication and on the periphery of language science, but rather the foundation of the many of the most distinctive features of human behaviour, society, and culture.

Does Group Contact Shape Styles of Pictorial Representation? A Case Study of Australian Rock Art

Image-making is a nearly universal human behavior, yet the visual strategies and conventions to represent things in pictures vary greatly over time and space. In particular, pictorial styles can differ in their degree of figurativeness, varying from intersubjectively recognizable representations of things to very stylized and abstract forms. Are there any patterns to this variability, and what might its ecological causes be? Experimental studies have shown that demography and the structure of interaction of cultural groups can play a key role: the greater the degree of contact with other groups, the more recognizable and less abstract are the representations. Here we test this hypothesis on a real-world dataset for the first time. We constructed a balanced database of Indigenous Australian rock art motifs from both isolated and contact Aboriginal groups (those often in contact with other groups). We then ran a survey asking participants to judge the recognizability of the motifs and to provide interpretations. Results show that motifs from contact Aboriginal groups were more likely to be judged as inter-subjectively recognizable and also elicited more convergent descriptions than motifs from isolated groups. This is consistent with the idea that intergroup contact is likely to be an important factor in the cultural evolution of pictorial representation. We discuss the implications of these findings for the archaeology and anthropology of art, and the parallels with language evolution.

Limited Scope for Group Coordination in Stylistic Variations of Kolam Art

In large, complex societies, assorting with others with similar social norms or behaviors can facilitate successful coordination and cooperation. The ability to recognize others with shared norms or behaviors is thus assumed to be under selection. As a medium of communication, human art might reflect fitness-relevant information on shared norms and behaviors of other individuals thus facilitating successful coordination and cooperation. Distinctive styles or patterns of artistic design could signify migration history, different groups with a shared interaction history due to spatial proximity, as well as individual-level expertise and preferences. In addition, cultural boundaries may be even more pronounced in a highly diverse and socially stratified society. In the current study, we focus on a large corpus of an artistic tradition called kolam that is produced by women from Tamil Nadu in South India (N = 3, 139 kolam drawings from 192 women) to test whether stylistic variations in art can be mapped onto caste boundaries, migration and neighborhoods. Since the kolam art system with its sequential drawing decisions can be described by a Markov process, we characterize variation in styles of art due to different facets of an artist's identity and the group affiliations, via hierarchical Bayesian statistical models. Our results reveal that stylistic variations in kolam art only weakly map onto caste boundaries, neighborhoods, and regional origin. In fact, stylistic variations or patterns in art are dominated by artist-level variation and artist expertise. Our results illustrate that although art can be a medium of communication, it is not necessarily marked by group affiliation. Rather, artistic behavior in this context seems to be primarily a behavioral domain within which individuals carve out a unique niche for themselves to differentiate themselves from others. Our findings inform discussions on the evolutionary role of art for group coordination by encouraging researchers to use systematic methods to measure the mapping between specific objects or styles onto groups.

The Role of Social Network Structure in the Emergence of Linguistic Structure

Social network structure has been argued to shape the structure of languages, as well as affect the spread of innovations and the formation of conventions in the community. Specifically, theoretical and computational models of language change predict that sparsely connected communities develop more systematic languages, while tightly knit communities can maintain high levels of linguistic complexity and variability. However, the role of social network structure in the cultural evolution of languages has never been tested experimentally. Here, we present results from a behavioral group communication study, in which we examined the formation of new languages created in the lab by micro-societies that varied in their network structure. We contrasted three types of social networks: fully connected, small-world, and scale-free. We examined the artificial languages created by these different networks with respect to their linguistic structure, communicative success, stability, and convergence. Results did not reveal any effect of network structure for any measure, with all languages becoming similarly more systematic, more accurate, more stable, and more shared over time. At the same time, small-world networks showed the greatest variation in their convergence, stabilization, and emerging structure patterns, indicating that network structure can influence the community's susceptibility to random linguistic changes (i.e., drift).

Entropy trade-offs in artistic design: A case study of Tamil kolam

From an evolutionary perspective, art presents many puzzles. Humans invest substantial effort in generating apparently useless displays that include artworks. These vary greatly from ordinary to intricate. From the perspective of signalling theory, these investments in highly complex artistic designs can reflect information about individuals and their social standing. Using a large corpus of kolam art from South India (N = 3139 kolam from 192 women), we test a number of hypotheses about the ways in which social stratification and individual differences affect the complexity of artistic designs. Consistent with evolutionary signalling theories of constrained optimisation, we find that kolam art tends to occupy a 'sweet spot' at which artistic complexity, as measured by Shannon information entropy, remains relatively constant from small to large drawings. This stability is maintained through an observable, apparently unconscious trade-off between two standard information-theoretic measures: richness and evenness. Although these drawings arise in a highly stratified, caste-based society, we do not find strong evidence that artistic complexity is influenced by the caste boundaries of Indian society. Rather, the trade-off is likely due to individual-level aesthetic preferences and differences in skill, dedication and time, as well as the fundamental constraints of human cognition and memory.