The Influence of Shared Visual Context on the Successful Emergence of Conventions in a Referential Communication Task

Human communication is thoroughly context bound. We present two experiments investigating the importance of the shared context, that is, the amount of knowledge two interlocutors have in common, for the successful emergence and use of novel conventions. Using a referential communication task where black‐and‐white pictorial symbols are used to convey colors, pairs of participants build shared conventions peculiar to their dyad without experimenter feedback, relying purely on ostensive‐inferential communication. Both experiments demonstrate that access to the visual context promotes more successful communication. Importantly, success improves cumulatively, supporting the view that pairs establish conventional ways of using the symbols to communicate. Furthermore, Experiment 2 suggests that dyads with access to the visual context successfully adapt the conventions built for one color space to another color space, unlike dyads lacking it. In linking experimental pragmatics with language evolution, the study illustrates the benefits of exploring the emergence of linguistic conventions using an ostensive‐inferential model of communication.     

A method for electronically monitoring the ambulatory activity of honeybees under dark conditions

An electronic apparatus using infrared beams for monitoring the movements of individual bees under dark conditions is described. The searching behavior of workers in an arena was monitored over 2-h periods. Mean ambulatory velocity for one bee over a distance of 100 mm was 45.6±1.51 mm/sec (n=45). Thigmokinesis and temporal activity patterns are illustrated.     

The Creativity Matrix: Spotlights and Blind Spots in Our Understanding of the Phenomenon

In this paper, we organize past and present theories and models of creativity by using a new conceptual framework—the creativity matrix—with the aim of highlighting the dimensions of creativity we know a lot about and those we tend to either ignore or find difficult to study. This matrix is formed by bringing together a developmental model of creativity (the 4 C's) and a structural one (the 5 A's). We start by briefly describing these two conceptual frameworks, and then, we proceed to exploring the matrix itself by describing how the 5 A's are dynamically organized at each “level” of the 4 C's. Importantly, our overview of the matrix is informed by existing models and concepts that address one of more of the C's and the A's. This gives us a unique opportunity to take stock of what has been studied so far and, toward the end, consider new avenues for the development of theory and research agendas within creativity studies.