**Author(s):** Raymond C; Sánchez-Villagra MR; Rangel-de Lázaro G; Lynch, S; Ward S; Wilson LAB Intro: Intentional cranial modification (ICM), the application of materials to the cranium of infants to permanently alter the head shape, has a long history and is found throughout the world. We collated global records of ICM to trace the origin and dispersal of these practices. 
Methods: We collated published records for Central (n=271), South (n=53), and North America (n=54), the Caribbean (n=113), and Eurasia (n=252), recording geographic location (decimal coordinates), ICM type, biological sex, period, and date. The temporal sequence of ICM practice was assessed using spatiotemporal kernel density estimation in R with spatstat and sparr packages. 
Results: Our database comprised 743 records, spanning 40 countries across five regions. We found the highest incidence of ICM throughout the New World and identified clusters of diverse modification types and potential areas of missing data due to sampling bias in the archaeological record. 
Discussion: We present a global overview of potential areas and times of diffusion, and cultural convergence. There were probably multiple developments of CM, mirrored also in the different social contexts and modes in which CM has been recorded.

The temporal sequence and global spatial distribution of intentional cranial modification practices

Precolumbian South America offers a rich subject of investigation of cultural macroevolution, given the multiple innovations and transformations that document unique or parallel patterns to those of other parts of the world. One can thus examine the relation of cultural phenomena to language groups and population history, and issues such as trans-pacific diffusion or exchange among major areas (e.g., Andes, Amazon). Comparative musicology of songs has greatly developed – we extend this to the study of material culture. We examined organological data, extracted from archaeological and ethnographic sources, and produced new continental databases (e.g., matrix of 57 aerophones, membranophones and idiophones in 145 societies based largely on Izikowitz’ work) and analysed them. South Americans developed a high diversity of wind instruments and drums, while lacking chordophones. Our network analysis of panpipe features identified four clusters: two each in the Tropical Forest and Andean regions. About forty percent of the instruments in the standard organological classification are present in the archaeological, but not in the ethnographic record. The archaeological record comes mostly from the central Andean region, reflecting both preservational biases and research efforts, but we report on records from other areas. Our work represents the first analysis of cultural artifacts at a continental scale, and outline possible evolutionary paths by linking the instruments to the populations who produced them. This effort can be further developed by curating and standardizing resources from catalogues and museum collections, a task in great need of development in South American institutions.

Cultural macroevolution of musical instruments in South America

Cultural evolutionary approaches to the past 2

technical paper

### Welcome to the fourth Cultural Evolution Society Conference, CES2022! 

As last year, Underline will support the online component of the conference. The ongoing COVID-19 pandemic is causing a great deal of uncertainty for all of us. Therefore, we seek to offer a hybrid format that will hopefully allow some folks to travel to Aarhus, others to meet up locally or regionally in CES hub-lets, and other yet to participate online. The field of cultural evolution is growing in size and scope; its theories, methods and applications - both academic and applied - are getting ever more robust. Do join us in what promises to be an exciting exchange of ideas and a celebration of our field.

##### ***For SoMe interaction and live tweeting please tag @CulturalEvolSoc and use #CESconf2022***


#### The CES 2022 local organising committee
* Luseadra Joy McKerracher
* Jesper Sørensen 
* Niels Nørkjær Johannsen 
* Benjamin Grant Purzycki 
* Mette Løvschal 
* Felix Riede
* Iza Romanowska 
* Karsten Olsen

Please click on the button bellow if you want to watch the videos

Cultural Evolution Society 2022

The field of cultural evolution is growing in size and scope; its theories, methods and applications - both academic and applied - are getting ever more robust. Do join us in what promises to be an exciting exchange of ideas and a celebration of our field.

This session will be held in Zoom discussion room. Please click on the button below to join the session

[![](https://assets.underline.io/uploads/markdown_image/1/image/76394b5b28bf127a876eea792e512efa.png)](https://zoom.us/j/96446592393?pwd=aUFFM0hycDdVV04xUDBlelFvTzJIZz09)

**Session Chair:** Patrick Evan Savage   
  
   
**Paper ID:** AB00077       
**Paper title:** The Global Jukebox: A Public Database of Performing Arts and Culture       
**Author:** Patrick Evan Savage     
**Time:** 15:10 - 15:20 (CEST)  

**Paper ID:** AB00052     
**Paper title:** Testing hypotheses of music-culture coevolution with a global sample of 5,783 songs      
**Author:** Sam Passmore       
**Time:** 15:20 - 15:30 (CEST) 

**Paper ID:** AB00070     
**Paper title:** Relational Mobility Predicts Danceability in Music Preference: Evidence From 26 Countries      
**Author:** Kongmeng Liew        
**Time:** 15:30 - 15:40 (CEST) 

**Paper ID:** AB00043       
**Paper title:** The role of social context in the cultural evolution of traditional Ryukyuan songs      
**Author:** Yuri Nishikawa        
**Time:** 15:40 - 15:50 (CEST)  

**Paper ID:** AB00137       
**Paper title:** Cultural macroevolution of musical instruments in South America         
**Author:** Marcelo R Sánchez-Villagra      
**Time:** 15:50 - 16:00 (CEST)  

Q&A session 12: Music 2

### Conference Welcome

Welcome to the third Cultural Evolution Society Conference, CES2021. In the conference, which will be held from June 9-11, 2021, about 180 researchers from East Asia, Oceania, Middle East, Europe, North and South America give presentations on their latest research advancing the evolutionary understanding of human and nonhuman animal culture.

### Schedule and Program

[![](https://assets.underline.io/uploads/markdown_image/1/image/1ef06ffd05f80957b4a5b685f63ee3ba.png)](https://www.chain.hokudai.ac.jp/CES2020/wp-content/uploads/2021/06/fullprogram.pdf)
[![](https://assets.underline.io/uploads/markdown_image/1/image/12285eb22580949635121d15d5b46325.png)](https://www.chain.hokudai.ac.jp/CES2020/wp-content/uploads/2021/06/abstracts.pdf)

**Program-at-glance**

![](https://assets.underline.io/uploads/markdown_image/1/image/c0d0d4c8fcdad49d12631574fd966ae8.png)

### About the conference 
 
**Help-desk:** 
Please first visit [Help-desk](https://underline.io/events/120/help-desk) where you can find the instructions and manuals for exploring the conference site. 

**Plenary sessions:**
Five leading researchers give a live talk. It is like a TV show. The audience can submit a question from the chat window. Chat messages are immediately delivered to speakers and moderators.

**Q&A sessions (parallel):**
Each presenter first gives a 2-minute live lightning talk followed by an 8-minute live discussion with the audience. It uses Zoom.

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The audience can approach presenters and discuss their research. The sessions are held in a dedicated room in Gathertown.
 
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Gather Town is available for all participants 24 hours during the conference.
You can meet and talk with anybody at a lounge or at a table in Gathertown.
Further Gather Town instruction and how to use short keys please find in our [Help desk page](https://underline.io/events/120/help-desk). 

**Videos and slides:**

* Plenary sessions and the Q&A sessions will be recorded and uploaded after the sessions.
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You can chat with any speaker in the Q&A and discussion sessions. A chat window is available on each speaker’s page, and you can leave your questions there. 

**Announcement to the other participants:**
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### Code of conduct

See the full details of [the code of conduct](https://www.chain.hokudai.ac.jp/CES2020/code-of-conduct/).
&nbsp; 
 CES is dedicated to providing a welcoming and harassment-free conference experience for everyone, regardless of gender, gender identity and expression, sexual orientation, disability, physical appearance, body size, race, age, religion, nationality, or the presence of or care for dependents. 
We do not tolerate harassment of conference participants in any form. Conference participants violating these rules may be sanctioned or expelled from the conference at the discretion of the conference organizers.

&nbsp;
**Harassment can occur in-person or virtually, and includes, but is not limited to:**
* Comments (verbal, text, etc.) that reinforce social structures of domination related to gender, gender identity and expression, sexual orientation, disability, physical appearance, body size, race, age, religion, nationality
* Sexual images in public spaces (physical or virtual)
* Deliberate intimidation, stalking, or following
* Harassing photography or recording (including sharing of presentation materials without consent)
* Sustained disruption of talks or other events (including “Zoombombing”)
* Inappropriate physical contact or unwelcome sexual attention
* Advocating for, or encouraging, any of the above behaviour 

&nbsp;
 **Inclusiveness Committee**:
&nbsp;
 To facilitate implementing the code of conduct and foster a climate of inclusion, we have developed an inclusiveness committee. Below is their contact information:
 **Hiromi Matsumae**:	matsumae.hiromi.g@tokai.ac.jp
 **Patrick Savage**:	psavage@sfc.keio.ac.jp
 **Sarah Mathew**:	Sarah.Mathew@asu.edu
 **Gmail:** inclusivenessCES2021@gmail.com
 See [more details about reporting the harassment.](https://www.chain.hokudai.ac.jp/CES2020/code-of-conduct/)

### Organizing committee

**Honorary Conference Organizer:** [Kenichi Aoki (Meiji University)](https://sites.google.com/site/kenichi1aoki/home) 

**Chair:** [Masanori Takezawa (Hokkaido University)](https://lalalarakko.github.io)

**Scientific Committee:** [Kenichi Aoki (Meiji University)](https://sites.google.com/site/kenichi1aoki/home), [Yasuo Ihara (the University of Tokyo)](https://researchmap.jp/read0209180?lang=en), [Hiromi Matsumae (Tokai University)](https://sites.google.com/site/hiromimatsumae/eng), [Naoko Matsumoto (Okayama University)](https://researchmap.jp/nmatsumoto_okayama-u), [Masako Myowa (Kyoto University)](https://myowa.educ.kyoto-u.ac.jp/en), [Hisashi Nakao (Nanzan University)](https://www.hisashinakao.com/), [Patrick E. Savage (Keio University)](https://sites.google.com/view/comp-music-lab/home)

**Local Organizing Committee:** [Yutaka Horita (Teikyo University)](https://sites.google.com/site/yhoritapage/), [Masanori Takezawa (Hokkaido University)](https://lalalarakko.github.io/), [Ayaka Takimoto (Hokkaido University)](https://lynx.let.hokudai.ac.jp/~takimoto/), [Kohei Tamura (Tohoku University)](https://researchmap.jp/7000017854)

**Inclusiveness Committee:** [Sarah Mathew (Arizona State University)](https://www.sarahmathew.net/), [Hiromi Matsumae (Tokai University)](https://sites.google.com/site/hiromimatsumae/eng), [Patrick E. Savage (Keio University)](https://sites.google.com/view/comp-music-lab/home)


![](https://assets.underline.io/uploads/markdown_image/1/image/967110a00d200a6b20d6f4fa6556ba13.png)

For attending the conference, you first need to register and pay fees from [the link here](https://www.chain.hokudai.ac.jp/CES2020/registration/). After the payment of the registration fees, you will receive a ticket, which is necessary for accessing the conference site. After the payment of the registration fees, you will receive a ticket, which is necessary for accessing the conference site

Marcelo R. Sánchez-Villagra

2

3

SHORT BIO

Presentations

The temporal sequence and global spatial distribution of intentional cranial modification practices

Cultural macroevolution of musical instruments in South America

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