Studies of animal culture have not normally included a consideration of cetaceans. However, with several long-term field studies now maturing, this situation should change. Animal culture is generally studied by either investigating transmission mechanisms experimentally, or observing patterns of behavioural variation in wild populations that cannot be explained by either genetic or environmental factors. Taking this second, ethnographic, approach, there is good evidence for cultural transmission in several cetacean species. However, only the bottlenose dolphin (Tursiops) has been shown experimentally to (...) possess sophisticated social learning abilities, including vocal and motor imitation; other species have not been studied. There is observational evidence for imitation and teaching in killer whales. For cetaceans and other large, wide-ranging animals, excessive reliance on experimental data for evidence of culture is not productive; we favour the ethnographic approach. The complex and stable vocal and behavioural cultures of sympatric groups of killer whales (Orcinus orca) appear to have no parallel outside humans, and represent an independent evolution of cultural faculties. The wide movements of cetaceans, the greater variability of the marine environment over large temporal scales relative to that on land, and the stable matrilineal social groups of some species are potentially important factors in the evolution of cetacean culture. There have been suggestions of gene-culture coevolution in cetaceans, and culture may be implicated in some unusual behavioural and life-history traits of whales and dolphins. We hope to stimulate discussion and research on culture in these animals. (shrink)

Focus on the evolutionary origins of musicality has been neglected relative to attention on language, so these new proposals are welcome stimulants. We argue for a broad comparative approach to understanding how the elements of musicality evolved, and against the use of overly simplistic evolutionary accounts.

Research on animal innovation is an underdeveloped field, and for this reason we welcome the efforts Ramsey and colleagues have made to stimulate its study in wild populations. However, we feel that in attempting to find an operational definition the authors have overstretched the idea of what we should consider innovation in some areas and over-restricted it in others.

Culture can be defined as “group typical behaviour patterns shared by members of a community that rely on socially learned and transmitted information”. Once thought to be a distinguishing characteristic of humans relative to other animals it is now generally accepted to exist more widely, with especially abundant evidence in non-human primates, cetaceans, and birds. More recently, cumulative cultural evolution has taken on this distinguishing role. CCE, it is argued, allows humans, uniquely, to ratchet up the complexity or efficiency of (...) cultural traits over time. This “ratchet effect” gives the capacity to accumulate beneficial modifications over time beyond the capacities of a single individual. Mesoudi and Thornton define a core set of criteria for identifying CCE in humans and non-human animals that places emphasis on some performance measure of traits increasing over time. They suggest this emphasis is also pertinent to cultural products in the aesthetic domain, but is this the case? Music, art and dance evolve over time, but can we say they gain beneficial modifications that increase their aesthetic value? Here we bring together perspectives from philosophy, musicology and biology to build a conceptual analysis of this question. We summarise current thinking on cumulative culture and aesthetics across fields to determine how aesthetic culture fits into the concept of CCE. We argue that this concept is problematic to reconcile with dominant views of aesthetics in philosophical analysis and struggles to characterise aesthetic cultures that evolve over time. We suggest that a tension arises from fundamental differences between cultural evolution in aesthetic and technological domains. Furthermore, this tension contributes to current debates between reconstructive and preservative theories of cultural evolution. (shrink)