Evolved Open-Endedness in Cultural Evolution: A New Dimension in Open-Ended Evolution Research

The goal of Artificial Life research, as articulated by Chris Langton, is "to contribute to theoretical biology by locating life-as-we-know-it within the larger picture of life-as-it-could-be." The study and pursuit of open-ended evolution in artificial evolutionary systems exemplify this goal. However, open-ended evolution research is hampered by two fundamental issues: the struggle to replicate open-endedness in an artificial evolutionary system and our assumption that we only have one system (genetic evolution) from which to draw inspiration. We argue not only that cultural evolution should be seen as another real-world example of an open-ended evolutionary system but that the unique qualities seen in cultural evolution provide us with a new perspective from which we can assess the fundamental properties of, and ask new questions about, open-ended evolutionary systems, especially with regard to evolved open-endedness and transitions from bounded to unbounded evolution. Here we provide an overview of culture as an evolutionary system, highlight the interesting case of human cultural evolution as an open-ended evolutionary system, and contextualize cultural evolution by developing a new framework of (evolved) open-ended evolution. We go on to provide a set of new questions that can be asked once we consider cultural evolution within the framework of open-ended evolution and introduce new insights that we may be able to gain about evolved open-endedness as a result of asking these questions.

Pretensive Shared Reality: From Childhood Pretense to Adult Imaginative Play

Imaginative pretend play is often thought of as the domain of young children, yet adults regularly engage in elaborated, fantastical, social-mediated pretend play. We describe imaginative play in adults via the term “pretensive shared reality;” Shared Pretensive Reality describes the ability of a group of individuals to employ a range of higher-order cognitive functions to explicitly and implicitly share representations of a bounded fictional reality in predictable and coherent ways, such that this constructed reality may be explored and invented/embellished with shared intentionality in an ad hoc manner. Pretensive Shared Reality facilitates multiple individual and social outcomes, including generating personal and group-level enjoyment or mirth, the creation or maintenance of social groups, or the safe exploration of individual self-concepts (such as alternative expression of a players sexual or gender identity). Importantly, Pretensive Shared Reality (both within the specific context of table-top role-playing games, and other instances) are primarily co-operative and co-creative. We draw on multiple examples, and focus on Table-Top Role Playing games (TTRPG) – and specifically, the most popular and enduring table-top role-playing games, Dungeons & Dragons (D&D) – as a primary example of such play. Our conception of “pretensive shared reality” links the widespread existence and forms of adult imaginative play to childhood pretense, places it within a developmental and evolutionary context, and argues that pretensive shared realities – which underpin many forms of imaginative culture – are an important topic of study unto themselves, and may be utilized to provide methodological insight into a variety of psychological domains.

Cultural Components of Sex Differences in Color Preference

Preferences for pink and blue were tested in children aged 4-11 years in three small-scale societies: Shipibo villages in the Peruvian Amazon, kastom villages in the highlands of Tanna Island, Vanuatu, and BaYaka foragers in the northern Republic of Congo; and compared to children from an Australian global city (total N = 232). No sex differences were found in preference for pink in any of the three societies not influenced by global culture (ds - 0.31-0.23), in contrast to a female preference for pink in the global city (d = 1.24). Results suggest that the pairing of female and pink is a cultural phenomenon and is not driven by an essential preference for pink in girls.