The Status Competition Model of Cultural Production

Young people on social media in a globalized world: self-optimization in highly competitive and achievement-oriented forms of life

Research investigating young people's social media use has been criticized for its limited theoretical foundations and scope. This paper elaborates young people's social media activity from a socio-ecological evolutionary perspective (SEE), where young people's online exchanges cannot be divorced from the highly competitive and achievement-oriented modern market cultures in which they live. In highly competitive and achievement-oriented forms of life, young people's social media environments are often constituted as dynamic and evolving extrinsically oriented ecological niches that afford for status and identity enhancement while also affording for peer approval, belongingness, and self-worth nested within, and subordinate to, these higher-order affordances. The extrinsic value organization of social media platforms that serve young people's status and identity-enhancement are embodied by a community of mutually interdependent criteria that are evolutionary-based, developmentally salient, and market-driven: physical attractiveness, high (educational and extracurricular) achievements, and material success. Young people's online signaling of these interdependent extrinsic criteria affords for status-allocation and self-enhancement, where each criteria becomes an arena for social competition and identity formation, enabling young people to build personal and optimal models of social success congruent with their own interests and abilities. Young people's status and identity enhancing signaling of these extrinsic criteria is moving toward increasingly idealized or perfect embodiments, informed by accelerating, short-term positive feedback processes that benefit from the technological affordances and densely rewarding peer environments instantiated on social media.

Exploring new technologies for the future generation: exploration-exploitation trade-off in an intergenerational framework

Decision making on exploring or exploiting technology was studied by means of a laboratory experiment with a two-generation framework. In this framework, the design of a virtual tool is transmitted from the first to second generation, and hence, the former can help the latter by frequently exploring better tool designs but at the cost of reduced opportunities to exploit the existing tool to increase its own benefits. We set two experimental conditions ('repaid' and 'unrepaid') as well as a control condition (asocial), in which the second generation is absent. In the 'repaid' experimental condition, participants received an extra payment proportional to the score gained by the second generation, such that they were monetarily incentivized to help the second generation. Such an incentive was not given in the 'unrepaid' condition. An analysis of a formal model and computer simulations predicted that rational participants should increase investment in exploration only in the repaid condition when compared with the asocial control. The prediction was confirmed by the results of the experiment. These findings together suggest that humans may not have a propensity to invest in costly exploration of new technologies solely to help future generations.

Nocturnal selective pressures on the evolution of human musicality as a missing piece of the adaptationist puzzle

Human musicality exhibits the necessary hallmarks for biological adaptations. Evolutionary explanations focus on recurrent adaptive problems that human musicality possibly solved in ancestral environments, such as mate selection and competition, social bonding/cohesion and social grooming, perceptual and motor skill development, conflict reduction, safe time-passing, transgenerational communication, mood regulation and synchronization, and credible signaling of coalition and territorial/predator defense. Although not mutually exclusive, these different hypotheses are still not conceptually integrated nor clearly derived from independent principles. I propose The Nocturnal Evolution of Human Musicality and Performativity Theory in which the night-time is the missing piece of the adaptationist puzzle of human musicality and performing arts. The expansion of nocturnal activities throughout human evolution, which is tied to tree-to-ground sleep transition and habitual use of fire, might help (i) explain the evolution of musicality from independent principles, (ii) explain various seemingly unrelated music features and functions, and (iii) integrate many ancestral adaptive values proposed. The expansion into the nocturnal niche posed recurrent ancestral adaptive challenges/opportunities: lack of luminosity, regrouping to cook before sleep, imminent dangerousness, low temperatures, peak tiredness, and concealment of identity. These crucial night-time features might have selected evening-oriented individuals who were prone to acoustic communication, more alert and imaginative, gregarious, risk-taking and novelty-seeking, prone to anxiety modulation, hedonistic, promiscuous, and disinhibited. Those night-time selected dispositions may have converged and enhanced protomusicality into human musicality by facilitating it to assume many survival- and reproduction-enhancing roles (social cohesion and coordination, signaling of coalitions, territorial defense, antipredatorial defense, knowledge transference, safe passage of time, children lullabies, and sexual selection) that are correspondent to the co-occurring night-time adaptive challenges/opportunities. The nocturnal dynamic may help explain musical features (sound, loudness, repetitiveness, call and response, song, elaboration/virtuosity, and duetting/chorusing). Across vertebrates, acoustic communication mostly occurs in nocturnal species. The eveningness chronotype is common among musicians and composers. Adolescents, who are the most evening-oriented humans, enjoy more music. Contemporary tribal nocturnal activities around the campfire involve eating, singing/dancing, storytelling, and rituals. I discuss the nocturnal integration of musicality's many roles and conclude that musicality is probably a multifunctional mental adaptation that evolved along with the night-time adaptive landscape.

The sexual selection of creativity: A nomological approach

Cultural innovations, such as tools and other technical articles useful for survival, imply that creativity is an outcome of evolution. However, the existence of purely ornamental items obfuscates the functional value of creativity. What is the functional or adaptive value of aesthetic and intellectual ornaments? Recent evidence shows a connection between ornamental creativity, an individual's attractiveness, and their reproductive success. However, this association is not sufficient for establishing that creativity in humans evolved by sexual selection. In this critical review, we synthesize findings from many disciplines about the mechanisms, ontogeny, phylogeny, and the function of creativity in sexual selection. Existing research indicates that creativity has the characteristics expected of a trait evolved by sexual selection: genetic basis, sexual dimorphism, wider variety in males, influence of sex hormones, dysfunctional expressions, an advantage in mating in humans and other animals, and psychological modules adapted to mating contexts. Future studies should investigate mixed findings in the existing literature, such as creativity not being found particularly attractive in a non-WEIRD society. Moreover, we identified remaining knowledge gaps and recommend that further research should be undertaken in the following areas: sexual and reproductive correlates of creativity in non-WEIRD societies, relationship between androgens, development, and creative expression, as well as the impact of ornamental, technical and everyday creativity on attractiveness. Evolutionary research should analyze whether being an evolved signal of genetic quality is the only way in which creativity becomes sexually selected and therefore passed on from generation to generation. This review has gone a long way toward integrating and enhancing our understanding of ornamental creativity as a possible sexual selected psychological trait.

Evolution of Artistic and Athletic Propensities: Testing of Intersexual Selection and Intrasexual Competition

Since Darwin proposed that human musicality evolved through sexual selection, empirical evidence has supported intersexual selection as one of the adaptive functions of artistic propensities. However, intrasexual competition has been overlooked. We tested their relative importance by investigating the relationship between the self-perceived talent/expertise in 16 artistic and 2 sports modalities and proxies of intersexual selection (i.e., mate value, mating and parenting efforts, sociosexuality, and number of sexual partners) and intrasexual competition (i.e., aggressiveness, intrasexual competitiveness) in heterosexuals. Participants were 82 Brazilian men, 166 Brazilian women, 146 Czech men, and 458 Czech women (Mage = 26.48, SD = 7.12). Factor analysis revealed five factors: Literary-arts (creative writing, humor, acting/theater/film, poetry, storytelling), Visual-arts (painting/drawing, sculpting, handcrafting, culinary arts, architecture design), Musical-arts (playing/instruments, singing, dance, whistling), Circus-arts (juggling, acrobatics), and Sports (individual, collective). Multivariate General Linear Model (GLM) showed more associations of the arts to intersexual selection in women and to intrasexual selection in men, and overall more relationships in women than in men. In women, literary and musical-arts were related to elevated inter- and intrasexual selections proxies, visual and circus-arts were related to elevated intersexual selection proxies, and sports were related to intrasexual selection proxies. In men, literary-arts and sports were related to elevated inter- and intrasexual selection proxies, musical-arts were related to intrasexual proxies, and circus-arts were related to intersexual proxies; visual-arts did not have predictors. Although present in both sexes, each sexual selection component has different relative importance in each sex. Artisticality functions to attract and maintain long/short-term partners, and to compete with mating rivals.

The Evolution of Playfulness, Play and Play-Like Phenomena in Relation to Sexual Selection

By conceptualizing Sexual Selection, Darwin showed a way to analyze intra-specific individual differences within an evolutionary perspective. Interestingly, Sexual Selection is often used to investigate the origins of sports, arts, humor, religion and other phenomena that, in several languages, are simply called "play." Despite their manifested differences, these phenomena rely on shared psychological processes, including playfulness. Further, in such behaviors there is usually considerable individual variability, including sex differences, and positive relationship with mating success. However, Sexual Selection is rarely applied in the study of play, with exception to what is concerned as infant training behavior for adult sex roles. We offer an integrated grounding of playful phenomena aligning evolutionary propositions based on sexual selection, which might stimulate further exploration of playfulness within evolutionary perspective.

Evolved Features of Artistic Motivation: Analyzing a Brazilian Database Spanning Three Decades

Darwin explored the evolutionary processes underlying artistic propensities in humans. He stressed the universality of the human mind by pointing to the shared pleasure which all populations take in dancing, engaging in music, acting, painting, tattooing, and self-decorating. Artistic motivation drives/reinforces individuals to engage in aesthetically oriented activities. As curiosity/play, artistic behavior is hypothesized as a functionally autonomous activity motivated intrinsically through an evolved, specific, and stable aesthetic motivational system. The author tested whether artistic motivation is rather intrinsically sourced, domain-specific, and temporally stable using a large decades-long real-life public Brazilian database of university applications. In Study I, the author analyzed reasons for career-choice responded to by 403,832 late-adolescent applicants (48.84% women), between 1987 and 1998. In Study II, the author analyzed another career-choice reason question responded to by 1,703,916 late-adolescent applicants (51.02% women), between 1987 and 2020. Music, Dance, Scenic Arts, Visual Arts, and Literary Studies, in combination, presented a higher percentage of individuals reporting intrinsic factors (e.g., personal taste/aptitude/fulfillment) and the lower proportion reporting extrinsic motives (e.g., the influence of media/teacher/family, salary, social contribution/prestige) than other career groups. If artistic motivation were a recent by-product of general curiosity or status-seeking, artistic and non-artistic careers would not differ. Overall, intrinsic motives were 2.60–6.35 times higher than extrinsic factors; among artistic applicants’ were 10.81–28.38 times higher, suggesting domain-specificity. Intrinsic motivation did not differ among artistic careers and remained stable throughout the periods. Converging results corroborated a specific, stable, and intrinsically sourced artistic motivation consistent with its possible evolutionary origins.