This work proposes a coevolutionary theory of aesthetics that encompasses both biotic and human arts. Anthropocentric perspectives in aesthetics prevent the recognition of the ontological complexity of the aesthetics of nature, and the aesthetic agency of many non-human organisms. The process of evaluative coevolution is shared by all biotic advertisements. I propose that art consists of a form of communication that coevolves with its own evaluation. Art and art history are population phenomena. I expand Arthur Danto’s Artworld concept to any (...) aesthetic population of producers and evaluators. Current concepts of art cannot exclusively circumscribe the human arts from many forms of non-human biotic art. Without assuming an arbitrarily anthropocentric perspective, any concept of art will need to engage with biodiversity, and either recognize many instances of biotic advertisements as art, or exclude some instances of human art. Coevolutionary aesthetic theory provides a heuristic account of aesthetic change in both human and biotic artworlds, including the coevolutionary origin of aesthetic properties and aesthetic value within artworlds. Restructuring aesthetics, art criticism, and art history without human beings at the organizing centers of these disciplines stimulate new progress in our understanding of art, and the unique human contributions to aesthetics and aesthetic diversity. (shrink)

Bird songs often display musical acoustic features such as tonal pitch selection, rhythmicity, and melodic contouring. We investigated higher-order musical temporal structure in bird song using an experimental method called “music scrambling” with human subjects. Recorded songs from a phylogenetically diverse group of 20 avian taxa were split into constituent elements and recombined in original and random order. Human subjects were asked to evaluate which version sounded more “musical” on a per-species basis. Species identity and stimulus treatment were concealed from (...) subjects, and stimulus presentation order was randomized within and between taxa. Two recordings of human music were included as a control for attentiveness. Participants varied in their assessments of individual species musicality, but overall they were significantly more likely to rate bird songs with original temporal sequence as more musical than those with randomized temporal sequence. We discuss alternative hypotheses for the origins of avian musicality, including honest signaling, perceptual bias, and arbitrary aesthetic coevolution. (shrink)

Life history theory is often invoked to make universal predictions about phenotypic evolution. For example, it is conventional wisdom that organisms should evolve older ages at first reproduction if they have longer lifespans. We clarify that life history theory does not currently provide such universal predictions about phenotypic diversity. Using the classic Euler–Lotka model of adaptive life history evolution, we demonstrate how predictions about optimal age at first reproduction depend on rarely acknowledged, prior theoretical assumptions (i.e., axioms) about organismal development. (...) These developmental axioms include the rates, forms, and tradeoffs that relate to growth or differentiation. Developmental innovations transform the biology underlying these axioms. Consequently, Euler–Lotka and related life history models do not make coherent predictions at macroevolutionary scales, where developmental innovations occur (e.g., across mammals, birds, or insects). By focusing on historical innovations instead of universal rules, life history theory can reconnect with flourishing research in evolutionary developmental biology. (shrink)