Modeling Cultural Dynamics

EVOC (for EVOlution of Culture) is a computer model of culture that enables us to investigate how various factors such as barriers to cultural diffusion, the presence and choice of leaders, or changes in the ratio of innovation to imitation affect the diversity and effectiveness of ideas. It consists of neural network based agents that invent ideas for actions, and imitate neighbors’ actions. The model is based on a theory of culture according to which what evolves through culture is not memes or artifacts, but the internal models of the world that give rise to them, and they evolve not through a Darwinian process of competitive exclusion but a Lamarckian process involving exchange of innovation protocols. EVOC shows an increase in mean fitness of actions over time, and an increase and then decrease in the diversity of actions. Diversity of actions is positively correlated with population size and density, and with barriers between populations. Slowly eroding borders increase fitness without sacrificing diversity by fostering specialization followed by sharing of fit actions. Introducing a leader that broadcasts its actions throughout the population increases the fitness of actions but reduces diversity of actions. Increasing the number of leaders reduces this effect. Efforts are underway to simulate the conditions under which an agent immigrating from one culture to another contributes new ideas while still ‘fitting in’

Recognizability of Individual Creative Style Within and Across Domains: Preliminary Studies

It is hypothesized that creativity arises from the self-mending capacity of an internal model of the world, or worldview. The uniquely honed worldview of a creative individual results in a distinctive style that is recognizable within and across domains. It is further hypothesized that creativity is domaingeneral in the sense that there exist multiple avenues by which the distinctiveness of one’s worldview can be expressed. These hypotheses were tested using art students and creative writing students. Art students guessed significantly above chance both which painting was done by which of five famous artists, and which artwork was done by which of their peers. Similarly, creative writing students guessed significantly above chance both which passage was written by which of five famous writers, and which passage was written by which of their peers. These findings support the hypothesis that creative style is recognizable. Moreover, creative writing students guessed significantly above chance which of their peers produced particular works of art, supporting the hypothesis that creative style is recognizable not just within but across domains

Ideas are not replicators but minds are

An idea is not a replicator because it does not consist of coded self-assembly instructions. It may retain structure as it passes from one individual to another, but does not replicate it. The cultural replicator is not an idea but an associatively-structured network of them that together form an internal model of the world, or worldview. A worldview is a primitive, uncoded replicator, like the autocatalytic sets of polymers widely believed to be the earliest form of life. Primitive replicators generate self-similar structure, but because the process happens in a piecemeal manner, through bottom-up interactions rather than a top-down code, they replicate with low fidelity, and acquired characteristics are inherited. Just as polymers catalyze reactions that generate other polymers, the retrieval of an item from memory can in turn trigger other items, thus cross-linking memories, ideas, and concepts into an integrated conceptual structure. Worldviews evolve idea by idea, largely through social exchange. An idea participates in the evolution of culture by revealing certain aspects of the worldview that generated it, thereby affecting the worldviews of those exposed to it. If an idea influences seemingly unrelated fields this does not mean that separate cultural lineages are contaminating one another, because it is worldviews, not ideas, that are the basic unit of cultural evolution

A model of the emergence and evolution of integrated worldviews

It \ud is proposed that the ability of humans to flourish in diverse \ud environments and evolve complex cultures reflects the following two \ud underlying cognitive transitions. The transition from the \ud coarse-grained associative memory of Homo habilis to the \ud fine-grained memory of Homo erectus enabled limited \ud representational redescription of perceptually similar episodes, \ud abstraction, and analytic thought, the last of which is modeled as \ud the formation of states and of lattices of properties and contexts \ud for concepts. The transition to the modern mind of Homo \ud sapiens is proposed to have resulted from onset of the capacity to \ud spontaneously and temporarily shift to an associative mode of thought \ud conducive to interaction amongst seemingly disparate concepts, \ud modeled as the forging of conjunctions resulting in states of \ud entanglement. The fruits of associative thought became ingredients \ud for analytic thought, and vice versa. The ratio of \ud associative pathways to concepts surpassed a percolation threshold \ud resulting in the emergence of a self-modifying, integrated internal \ud model of the world, or worldview

How Creative Should Creators be to Optimize the Evolution of Ideas? A Computer Model

There are both benefits and drawbacks to creativity. In a social group it is not necessary for all members to be creative to benefit from creativity; some merely imitate or enjoy the fruits of others' creative efforts. What proportion should be creative? This paper outlines investigations of this question carried out using a computer model of cultural evolution referred to as EVOC (for EVOlution of Culture). EVOC is composed of neural network based agents that evolve fitter ideas for actions by (1) inventing new ideas through modification of existing ones, and (2) imitating neighbors' ideas. The ideal proportion with respect to fitness of ideas is found to depend on the level of creativity of the creative agents. For all levels or creativity, the diversity of ideas in a population is positively correlated with the ratio of creative agents

Incorporating characteristics of human creativity into an evolutionary art algorithm (journal article)

A perceived limitation of evolutionary art and design algorithms is that they rely on human intervention; the artist selects the most aesthetically pleasing variants of one generation to produce the next. This paper discusses how computer generated art and design can become more creatively human-like with respect to both process and outcome. As an example of a step in this direction, we present an algorithm that overcomes the above limitation by employing an automatic fitness function. The goal is to evolve abstract portraits of Darwin, using our 2nd generation fitness function which rewards genomes that not just produce a likeness of Darwin but exhibit certain strategies characteristic of human artists. We note that in human creativity, change is less choosing amongst randomly generated variants and more capitalizing on the associative structure of a conceptual network to hone in on a vision. We discuss how to achieve this fluidity algorithmically

An Agent-based Simulation of the Effectiveness of Creative Leadership\ud

This paper investigates the effectiveness of creative versus\ud uncreative leadership using EVOC, an agent-based model of\ud cultural evolution. Each iteration, each agent in the artificial society invents a new action, or imitates a neighbor’s action. Only the leader’s actions can be imitated by all other agents, referred to as followers. Two measures of creativity were used: (1) invention-to-imitation ratio, iLeader, which measures how often an agent invents, and (2) rate of conceptual change, cLeader, which measures how creative an invention is. High iLeader increased mean fitness of ideas, but only when creativity of followers was low. High iLeader was associated with greater diversity of ideas in the early stage of idea generation only. High Leader increased mean fitness of ideas in the early stage of idea generation; in the later stage it decreased idea fitness. Reasons for these findings and tentative implications for creative leadership in human society are discussed

Contextual focus: A cognitive explanation for the cultural transition of the Middle/Upper Paleolithic

Many elements of culture made their first appearance in the Upper Paleolithic. Previous hypotheses put forth to explain this unprecedented burst of creativity are found wanting. Examination of the psychological basis of creativity leads to the suggestion that it resulted from the onset of contextual focus: the capacity to focus or defocus attention in response to the situation, thereby shifting between analytic and associative modes of thought. New ideas germinate in a defocused state in which one is receptive to the possible relevance of many dimensions of a situation. They are refined in a focused state, conducive to filtering out irrelevant dimensions and condensing relevant ones

Cultural evolution entails (creativity entails (concept combination entails quantum structure))

The theory of natural selection cannot describe how early life evolved, in part because acquired characteristics are passed on through horizontal exchange. It has been proposed that culture, like life, began with the emergence of autopoietic form, thus its evolution too cannot be described by natural selection. The evolution of autopoietic form can be described using a framework referred to as Context-driven Actualization of Potential (CAP), which grew out of a generalization of the formalisms of quantum mechanics, and encompasses nondeterministic as well as deterministic change of state. The autopoietic structure that evolves through culture is the mind, or more accurately the conceptual network that yields an individual's internal model of the world. A branch of CAP research referred to as the state-context-property (SCOP) formalism provides a mathematical framework for reconciling the stability of conceptual structure with its susceptibility to context-driven change. The combination of two or more concepts (an extreme case of contextual influence), as occurs in insight, is modeled as a state of entanglement. Theoretical and empirical findings are presented that challenge assumptions underlying virtually all of cognitive science, such as the notion of spreading activation and the assumption that cognitive processes can be described with a Kolmogorovian probability model

Creative thought as a non-Darwinian evolutionary process

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