How can ten fingers shape a pot? Evidence for equivalent function in culturally distinct motor skills

Cultural attraction in pottery practice: Group-specific shape transformations by potters from three communities

Pottery is a quintessential indicator of human cultural dynamics. Cultural alignment of behavioral repertoires and artifacts has been considered to rest upon two distinct dynamics: selective transmission of information and culture-specific biased transformation. In a cross-cultural field experiment, we tested whether community-specific morphological features of ceramic vessels would arise when the same unfamiliar shapes were reproduced by professional potters from three different communities who threw vessels using wheels. We analyzed the details of the underlying morphogenesis development of vessels in wheel throwing. When expert potters from three different communities of practice were instructed to faithfully reproduce common unfamiliar model shapes that were not parts of the daily repertoires, the morphometric variation in the final shape was not random; rather, different potters produced vessels with more morphometric variation among than within communities, indicating the presence of community-specific deviations of morphological features of vessels. Furthermore, this was found both in the final shape and in the underlying process of morphogenesis; there was more variation in the morphogenetic path among than within communities. These results suggest that the morphological features of ceramic vessels produced by potters reliably and nonrandomly diverge among different communities. The present study provides empirical evidence that collective alignment of morphological features of ceramic vessels can arise from the community-specific habits of fashioning clay.

An "in vivo" analysis of crafts practices and creativity-Why affordances provide a productive lens

Scholars are increasingly recognizing that creativity is grounded in the active sensorimotor engagement with the environment and materiality. Affordances-recognizable pointers to action opportunities in the ecology-provide a helpful prism for analyzing how this happens. Creative practitioners, as they seek aesthetic opportunities or innovation, depend on their sensitivity toward potentialities in their action space. Presently, we apply a high-zoom lens to a crafts process, giving our micro-genetic research design an affordance focus. By investigating one of the authors, a ceramicist and a practitioner-researcher, through her process of making of a vase, we tracked how affordances are responded to, developed, shaped, invited or, where necessary, rejected, as the ceramicist "routes" her creative trajectory. Several insights emerge: (1) The ceramicist's decisions-initially about general directions, then about aesthetic details-unfold while engaging with the clay; they emerge in stepwise fashion, but with a holistic orientation. (2) Choosing among affordances requires parallel sensitivities to object functionality, aesthetics and creativity, as well as technical feasibility; adhering to the proper technical procedure that provides the very basis for creatively relevant affordances to later arise. (3) While the hands and eyes engage with short-lived affordances the ceramicist must keep in view higher-timescale affordances that ensure a good task progression for making a vase, and affordances for the material's overall "workability". (4) The ceramicist typically relates to momentary affordances in light of expected as well as imagined others, to ensure a coherent end product. (5) Affordances contribute to material creativity in more ways than typically recognized in the literature. They range from serendipitous "finds" to options developed with a large degree of creative autonomy; affordances may also be indirectly invited and practitioners strategically change probability distributions as well as providing an enabling background for generative action. Thus, a crafts practitioner brings forth unconventional affordances through active engagement, using a mix of exploration, strategy, and imaginative potential. Affordance theorists err when stressing the possibility to just "find" creative options or that perceptual acuity is the sole skill.

The cultural transmission of tacit knowledge

A wide variety of cultural practices have a 'tacit' dimension, whose principles are neither obvious to an observer, nor known explicitly by experts. This poses a problem for cultural evolution: if beginners cannot spot the principles to imitate, and experts cannot say what they are doing, how can tacit knowledge pass from generation to generation? We present a domain-general model of 'tacit teaching', drawn from statistical physics, that shows how high-accuracy transmission of tacit knowledge is possible. It applies when the practice's underlying features are subject to interacting and competing constraints. Our model makes predictions for key features of the teaching process. It predicts a tell-tale distribution of teaching outcomes, with some students near-perfect performers while others receiving the same instruction are disastrously bad. This differs from standard cultural evolution models that rely on direct, high-fidelity copying, which lead to a much narrower distribution of mostly mediocre outcomes. The model also predicts generic features of the cultural evolution of tacit knowledge. The evolution of tacit knowledge is expected to be bursty, with long periods of stability interspersed with brief periods of dramatic change, and where tacit knowledge, once lost, becomes essentially impossible to recover.

Cultural variation in running techniques among non-industrial societies

Research among non-industrial societies suggests that body kinematics adopted during running vary between groups according to the cultural importance of running. Among groups in which running is common and an important part of cultural identity, runners tend to adopt what exercise scientists and coaches consider to be good technique for avoiding injury and maximising performance. In contrast, among groups in which running is not particularly culturally important, people tend to adopt suboptimal technique. This paper begins by describing key elements of good running technique, including landing with a forefoot or midfoot strike pattern and leg oriented roughly vertically. Next, we review evidence from non-industrial societies that cultural attitudes about running associate with variation in running techniques. Then, we present new data from Tsimane forager–horticulturalists in Bolivia. Our findings suggest that running is neither a common activity among the Tsimane nor is it considered an important part of cultural identity. We also demonstrate that when Tsimane do run, they tend to use suboptimal technique, specifically landing with a rearfoot strike pattern and leg protracted ahead of the knee (called overstriding). Finally, we discuss processes by which culture might influence variation in running techniques among non-industrial societies, including self-optimisation and social learning.

New evidence from the Tsimane underscores that running techniques vary between societies according to the cultural importance of running

Toward the identification of social signatures in ceramic production - An archaeological case study

Ceramic analysis has been concerned with categorizing types according to vessel shape and size for describing a given material culture at a particular time. This analysis' long tradition has enabled archaeologists to define cultural units across time. However, going into the analysis of sub-typological variations is rarely done, although their meanings bear significant consequences on the understanding of ties between individuals and social units. This study, aiming to assess whether it is possible to identify social signatures, focuses on a single archaeological ceramic type. For this propose, we selected a corpus of 235 storage jars from two distinct periods: storage jars from the Intermediate Bronze Age (the 25th -20th century BCE); and the Oval Storage Jar type (hereafter: OSJ) from the Iron Age II (the late 9th-early 6th century BCE). The vessels selected were 3-D scanned to extract accurate geometric parameters and analyzed through an advanced shape analysis. The study results show that integrating computational and objective analysis methods, focusing on the "minute variation" within a single ceramic type, yields substantial insights regarding the relationship between variability and social units. In addition to the methodological guidelines and the suggested "work protocol" for further studies, the results shed light on the social organization of the Intermediate Bronze Age and the Iron Age II in Southern Levant.

Assessing the influence of culture on craft skills: A quantitative study with expert Nepalese potters

Studies have documented that traditional motor skills (i.e. motor habits) are part of the cultural way of life that characterises each society. Yet, it is still unclear to what extent motor skills are inherited through culture. Drawing on ethnology and motor behaviour, we addressed this issue through a detailed description of traditional pottery skills. Our goal was to quantify the influence of three kinds of constraints: the transcultural constraints of wheel-throwing, the cultural constraints induced via cultural transmission, and the potters' individual constraints. Five expert Nepalese potters were invited to produce three familiar pottery types, each in five specimens. A total of 31 different fashioning hand positions were identified. Most of them (14) were cross-cultural, ten positions were cultural, five positions were individual, and two positions were unique. Statistical tests indicated that the subset of positions used by the participants in this study were distinct from those of other cultural groups. Behaviours described in terms of fashioning duration, number of gestures, and hand position repertoires size highlighted both individual and cross-cultural traits. We also analysed the time series of the successive hand positions used throughout the fashioning of each vessel. Results showed, for each pottery type, strong reproducible sequences at the individual level and a clearly higher level of variability between potters. Overall, our findings confirm the existence of a cultural transmission in craft skills but also demonstrated that the skill is not fully determined by a cultural marking. We conclude that the influence of culture on craft skills should not be overstated, even if its role is significant given the fact that it reflects the socially transmitted part of the skill. Such research offers insights into archaeological problems in providing a representative view of how cultural constraints influence the motor skills implied in artefact manufacturing.

Traditional craftspeople are not copycats: Potter idiosyncrasies in vessel morphogenesis

Ceramics are quintessential indicators of human culture and its evolution across generations of social learners. Cultural transmission and evolution theory frequently emphasizes apprentices’ need for accurate imitation (high-fidelity copying) of their mentors’ actions. However, the ensuing prediction of standardized fashioning patterns within communities of practice has not been directly addressed in handicraft traditions such as pottery throwing. To fill this gap, we analysed variation in vessel morphogenesis amongst and within traditional potters from culturally different workshops producing for the same market. We demonstrate that, for each vessel type studied, individual potters reliably followed distinctive routes through morphological space towards a much-less-variable common final shape. Our results indicate that mastering the pottery handicraft does not result from accurately reproducing a particular model behaviour specific to the community’s cultural tradition. We provide evidence that, at the level of the elementary clay-deforming gestures, individual learning rather than simple imitation is required for the acquisition of a complex motor skill such as throwing pottery.