Volume 87, Issue 4 p. 1149-1159
RESEARCH ARTICLE
Free Access

Synergistic selection regimens drive the evolution of display complexity in birds of paradise

Meredith C. Miles

Corresponding Author

Meredith C. Miles

Department of Biology, Wake Forest University, Winston-Salem, NC, USA

Correspondence

Meredith C. Miles

Email: [email protected]

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Matthew J. Fuxjager

Matthew J. Fuxjager

Department of Biology, Wake Forest University, Winston-Salem, NC, USA

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First published: 11 April 2018
Citations: 20

Abstract

  1. Integrated visual displays that combine gesture with colour are nearly ubiquitous in the animal world, where they are shaped by sexual selection for their role in courtship and competition. However, few studies assess how multiple selection regimens operate on different components of these complex phenotypes on a macroevolutionary scale.
  2. Here, we study this issue by assessing how both sexual and ecological selection work together to influence visual display complexity in the birds of paradise.
  3. We first find that sexual dichromatism is highest in lekking species, which undergo more intense sexual selection by female choice, than non-lekking species. At the same time, species in which males directly compete with one another at communal display courts have more carotenoid-based ornaments and fewer melanin ornaments.
  4. Meanwhile, display habitat influences gestural complexity. Species that dance in the cluttered understorey have more complex dances than canopy-displaying species.
  5. Taken together, our results illustrate how distinct selection regimens each operate on individual elements comprising a complex display. This supports a modular model of display evolution, wherein the ultimate integrated display is the product of synergy between multiple factors that select for different types of phenotypic complexity.

1 INTRODUCTION

Animal displays are vital to mediating mate choice and competition. As a result, these behaviours are thought to contribute to the process of speciation and thus play a fundamental role in shaping global patterns of biodiversity (Grant & Grant, 2010; Price, 1998). Understanding how displays diverge in response to dynamic selection regimens is therefore a major goal in biology. Work to date indicates that signal design is the product of multiple selection regimens operating in tandem (Endler, 1987; Seddon, 2005). This also applies to complex displays, which consist of multiple signalling elements. Complex displays should evolve in a modular fashion, where each novel signal offers a new opportunity for one or more selection pressures to act (Hebets et al., 2016; Miles, Schuppe, Ligon, & Fuxjager, 2018). However, most work that examines multicomponent displays does so in single-species systems (e.g., Candolin, 1999; Pryke, Andersson, & Lawes, 2001; Smith et al., 2016; Stange, Page, Ryan, & Taylor, 2016), an approach that makes it difficult to understand the macroevolutionary consequences of modularity. There are relatively few studies that take such a broad approach to this topic (but see Seddon, 2005; Tobias et al., 2010), which leaves a gap in our understanding of how multiple drivers act together to shape signal divergence.

Some of the most widespread modular signals are integrated visual displays, which combine physical gestures with colour ornaments to communicate with signal receivers (Stuart-Fox & Ord, 2004). Such displays are nearly ubiquitous in the animal world, used by a wide range of invertebrates (Green & Patek, 2015; Hebets & Uetz, 2000), fishes (Basolo & Alcaraz, 2003; Milinski & Bakker, 1990) and tetrapods alike (Klomp, Stuart-Fox, Cassidy, Ahmad, & Ord, 2017; Miles, Cheng, & Fuxjager, 2017). Each component of an integrated display can convey distinct and isolated information to the receiver (Klomp et al., 2017; Kodric-Brown, 1989; Price, Earnshaw, & Webster, 2006), or otherwise be combined to supersede the effect of each component alone (Girard, Elias, & Kasumovic, 2015; Hebets & Uetz, 1999; Taylor & Ryan, 2013). As such, displays can become more elaborate either by introducing new signals to increase complexity, or by exaggerating existing elements (Hebets, Vink, Sullivan-Beckers, & Rosenthal, 2013; Lindsay, Houck, Giuliano, & Day, 2015). For example, sexual selection for colourful males encompasses a diverse range of evolutionary processes that generate dichromatism in different ways. Among the many possibilities are exaggerating the degree to which different melanins are deposited across the body (Bókony, Liker, Székely, & Kis, 2003; Galván, 2008), and/or increasing colour complexity by evolving novel metabolic pathways to process diet-derived carotenoids into new hues (Badyaev, Hill, & Weckworth, 2002; Goodwin, 1980; Ligon, Simpson, Mason, Hill, & McGraw, 2016). Because these different pigment origins for colour represent developmentally distinct pathways, they have the potential to act as individual components of the modular visual display (Hebets et al., 2016). Similarly, gestural signals might also undergo elaboration independent of colour ornaments because they are ontogenically distinct. If integrated visual displays are indeed modular, then each component should be independently shaped by a distinct selection regimen. Alternatively, signal components may evolve in a correlated manner, either by reinforcing or by constraining one another independent of selection for display complexity (Mason, Shultz, & Burns, 2014; Rowe, 1999).

Visual displays are primarily shaped by sexual selection, both via female choice and male–male competition. The former mechanism (intersexual selection) is the result of indirect competition among males for the opportunity to mate with choosy females, which results in the evolution of progressively elaborate displays (Andersson, 1994). Although most species undergo intersexual selection to some degree, the effects of female choice are at their most extreme in lekking species, which have an asymmetrical social mating system where a minority of males ever get to mate (Borgia, 1979; Payne, 1984; Widemo & Owensi, 1995). The underlying mechanisms of female choice have been a subject of debate for decades—be it for handicaps (Zahavi, 1975), motor skill and vigour (Byers, Hebets, & Podos, 2010), or material benefits (Alatalo, Lundberg, & Glynn, 1986; Gray, 1997)—but mechanism aside, a common consequence of female choice is increased display complexity (Hebets et al., 2013; Lindsay et al., 2015). At the same time, many species undergo differing degrees of sexual selection by direct male–male competition (intrasexual selection), wherein interactions among males determine access to territories and mating rights (Andersson, Pryke, Ornborg, Lawes, & Andersson, 2002; Ord, Blumstein, & Evans, 2001). Even among lekking species, the intensity of intrasexual selection is variable, occupying a continuum that spans all-out combat between males (Gosling, Petrie, & Rainy, 1987) to species where males at dispersed leks only occasionally interact (Ryder, Parker, Blake, & Loiselle, 2009). This means that some species evolve complex visual displays that are used both in courtship and in competition with other males. How do these complementary mechanisms of sexual selection, by female choice and male–male competition, interact to shape complex displays? One possibility is that inter- and intrasexual selection favour the exaggeration of different phenotypes and therefore act on different signal components. Alternatively, the same signals may evolve to serve both functions, which means that display complexity would reflect the strength of sexual selection (by both mechanisms) that a species undergoes.

Sexual selection, however, does not operate in unchecked isolation to drive display elaboration, as many constraints can impede this process (Wilkins, Seddon, & Safran, 2013). One common constraint is the signalling environment: to be evolutionarily stable, a signal must be reliably transmitted through the environment to convey information to the receiver (Endler, 1992). In this way, signal design is also subject to change based on how effectively it can be transmitted and perceived by the receiver, a phenomenon that has been explored extensively in studies of acoustic signalling (Seddon, 2005; Tobias et al., 2010). Signalling environment and habitat structure affect short-range visual displays as well, because increasing environmental “noise” such as light availability or visual range disruption, prompts the evolution of more detectable displays (Ord, Peters, Clucas, & Stamps, 2007) and/or more sensitive receivers (Bloch, Morrow, Chang, & Price, 2015). Habitats associated with increased visual clutter include the forest understorey, where dense herbaceous vegetation decreases visibility and light availability (Endler, 1987; Endler & Thery, 1996). Indeed, species with a preference for this habitat have evolved remarkable colour ornaments (Marchetti, 1993) and even strategically orient iridescent patches to maximize light transmittance (Schultz & Fincke, 2009). In a modular display framework, it should be possible for signal components to be differentially influenced by the signalling environment in combination with sexual selection.

In this study, we explore how multiple evolutionary pressures interact to shape complex visual display phenotypes in the birds of paradise (Passeriformes: Paradisaeidae; Figure 1). These “most beautiful and most wonderful of living things” (Wallace, 1869) represent the pinnacle of visual display evolution, exhibiting some of the gaudiest colour and most complex dances in the animal world. However, this family is not monolithic in its visual display complexity or social structures; although birds of paradise are known for their polygyny and elaborate displays, many species are monogamous and employ more modest visual signals or do not display at all (Frith & Beehler, 1998). Thus, the range of social mating systems in this family provides an excellent opportunity to investigate how female choice influences visual display evolution. Similarly, even lekking species in the family exhibit uncommon social diversity. For example, many bird of paradise leks are highly dispersed and males seldom interact with one another in a courtship context (Frith & Beehler, 1998; Irestedt, Jønsson, Fjeldså, Christidis, & Ericson, 2009). At the other extreme, the males of other species congregate daily and display at one another even when a female is not present. Moreover, this family is endemic to the humid forests of Wallacea, where it has remained since diverging from a crow-like ancestor approximately 10 million years ago (Jønsson et al., 2016). This eliminates many of the confounding environmental and biogeographic factors that can complicate our understanding of how displays diverge (Miles et al., 2017; Tobias et al., 2010), and makes understanding the effect of display environment more straightforward—even though each species inhabits a similar habitat, they display in different forest strata. All this, combined with an evolutionary context shaped by isolated island radiation, makes the birds of paradise the ideal study system for tackling the challenge of evolutionary synergy driving display diversity.

Here we investigate how multiple drivers each shape the complexity of integrated visual displays that comprise both colour and gesture. If bird of paradise displays are indeed modular (i.e., multiple evolutionary forces independently favour complexity of different signal components), then indices of different selection pressures should each predict directional variation in separate signals. Specifically, we hypothesize that sexual selection by female choice and male–male competition, as well as the signalling environment, will each predict the complexity of different display elements. As such, we first explore how proxies that reflect relative degrees of female choice and male–male competition predict species-wide variation in both gesture and colour. Finally, we examine how display microhabitat influences signal design. By comparing how fundamental agents of evolution act on different signals, we aim to establish a novel framework for understanding how synergistic selection regimens facilitate the emergence of complex modular displays.

2 MATERIALS AND METHODS

2.1 Experimental and statistical approach

We adopted a hypothesis-driven approach to examine three indices of visual display complexity: sexual dichromatism, carotenoid and melanin ornamentation, and gestural display complexity. In-depth descriptions of the methodology for each hypothesis follow in their respective sections, while here we describe the overall study design. To test how multiple proxies for selection pressure predict variation in our variables, we used phylogenetic comparative methods (Felsenstein, 1985) that account for non-independence of comparative datasets. Therefore, all analyses incorporate a published phylogeny that reflects our most up-to-date understanding of the avian radiation that includes birds of paradise (Figure 1; Jønsson et al., 2016). For each of our dependent variables, we first fit continuous trait models (Table S1) using the “fitContinuous” function in the r package geiger (Harmon, Weir, Brock, Glor, & Challenger, 2008) to determine appropriate branch length transformations to use in each analysis. All of our models use categorical predictors (indices of sexual selection intensity and display habitat) and a continuous response variable (complexity scores), so we used phylogenetic ANOVAs (Garland, Dickerman, Janis, & Jones, 1993) to test for associations between the two. Finally, we only report significant p-values that have been corrected to account for multiple testing (Holm, 1988).

Details are in the caption following the image
Phylogeny of the birds of paradise from Jønsson et al. (2016), with gestural display complexity (outer ring) and dichromatism (inner ring) scores illustrated on a colour ramp. Blanks indicate species for which there was insufficient information to characterize display complexity. Illustrations depict males performing their complex integrated visual displays, with species selected that best represent the breadth of colour and display complexity found in the family [Colour figure can be viewed at wileyonlinelibrary.com]

2.2 Independent variables

In each of our models, we use categorical independent variables that reflect variation in the degree to which a species undergoes intersexual and intrasexual selection, as well as display habitat. This information was derived using authoritative species accounts documenting bird of paradise natural history (Frith & Beehler, 1998). We first aimed to explore how variation in intersexual selection pressure predicted differences in display complexity. To do this, we used a dichotomous classification of social mating system that distinguishes only between lekking and non-lekking species. We defined lekking species as those in which males mate with many females, and neither provide parental care nor maintain an all-purpose breeding territory (instead they maintain separate arenas for courtship displays, which can consist of either communal or dispersed courts; e.g., Borgia, 1979; Payne, 1984; Kirkpatrick, 1987; McDonald & Potts, 1994). This allowed us to approximately separate species undergoing moderate and extreme intersexual selection, as female choice drives lek evolution (Borgia, 1979; Payne, 1984; Widemo & Owensi, 1995).

We next aimed to examine how degrees of sexual selection by direct male–male competition predict differences in display complexity. Males that display in view of one another must compete directly for display space and time (and thus mating opportunities), and this competition is mediated by not only male–male display behaviour, but also even combat (Reynolds et al., 2009; Robel & Ballard, 1974; Widemo & Owensi, 1995). By contrast, male birds of paradise that display on a solitary court largely do not interact agonistically with other males on a regular basis (Frith & Beehler, 1998). Accordingly, we considered species in which males display close to one another (i.e. within visual range) to be undergoing more intense intrasexual selection, compared to species in which males only display alone. Note that no birds of paradise display cooperatively, which is an alternate social system in which female mate choice is contingent on coordinated displays between multiple males (McDonald & Potts, 1994). We therefore dichotomously categorized species as either displaying with other males, or exclusively alone. Notably, our two indices of sexual selection exhibit little overlap; of the 36 birds of paradise, 26 species have a lek mating system. Of those lekking species, 14 have dispersed leks where males display alone and 12 have communal display courts where 2–20 males display together. All non-lekking species except for one (Manucodia comrii) have solitary-displaying males.

Finally, we investigated how display habitat affects display complexity. Habitat structure can impose different challenges to signal transmission and perception by the receiver, particularly between open (low clutter) and closed (high clutter) habitats (Endler, 1992; Ord & Stamps, 2008; Tobias et al., 2010). All birds of paradise inhabit the closed humid tropical forest. However, species preferences for display courts are more variable, ranging from the dense understorey to canopy, where tree gaps are more common (Endler & Thery, 1996; Frith & Beehler, 1998). We classified species by the forest strata in which they display using a discrete index, because accounts of display habitat are supplied in metres for some species and qualitative terms (e.g., “high in the canopy,” “on the ground”) for others. This allowed for easy delineation of species described qualitatively, and we followed a previously published forest stratum classification for New Guinea birds to determine display habitat for quantitatively described species (Bell, 1982). Briefly, this system considers species ≤3 m from the forest floor to inhabit the understorey, ≥10 m from the forest floor to be in the canopy, and considers species between 3 and 10 m to be in the midstorey. However, due to the low number of midstorey-displaying species (n = 6) and the marked difference in vegetation structure between the understorey and all higher forest strata (Bell, 1982; Montgomery & Chazdon, 2001; Wright, 2002), we grouped midstorey and canopy species into a single “upper strata” category to compare to understorey counterparts. This dichotomous habitat classification still has biological relevance, as those species displaying in the mid- and upper stories seek out exposed perches at the forest edge or at a tree's crown, while species displaying in the understorey maintain display courts on or near the ground and among dense herbaceous vegetation (Frith & Beehler, 1998).

2.3 Gesture complexity scores

To characterize gestural complexity of each species, we followed a literature-based numerical scoring index that has been used previously (Fuxjager et al., 2015; Lindsay et al., 2015; Miles et al., 2017). This index uses published display descriptions to distinguish between unique motor components of a display. For example, many species perform a wing display, but some pump the whole wing with the pectoralis and supracoracoideus muscles, whereas others extend only the wrist using carpal extensors and flexors; and yet others still will incorporate both gestures into their display. Therefore, we consider these two wing displays to be unique gestures.

We define display complexity as the sum of discrete physical outputs incorporated into a species’ gestural display repertoire (as in Fuxjager et al., 2015; Lindsay et al., 2015; Miles et al., 2017). In this way, display complexity scores are computed by awarding a species 1 point for every unique physical manoeuvre it performs as part of the total dance routine. By adhering to a priori delineations of each gesture (Table S1), we were able to avoid double-counting manoeuvres. We used published species accounts of display repertoires (Frith & Beehler, 1998) augmented with information from later expeditions (del Hoyo, Elliott, & Sargatal, 1999; Laman & Scholes, 2012) to describe and categorize individual gestures for each taxa. Tallying presence (1 point) or absence (0 points) of each gesture in a species, and then adding the total score, results in the species gestural complexity score (Table S2). As such, a total score of 0 denotes a species that performs no gestural displays whatsoever, and higher scores denote species with more complex display repertoires. Because this study's focus concerns display complexity and not elaboration, we do not account for qualitative differences in gesture performance across species (thus, two species that perform the bow gesture each receive a score of 1, regardless of the depth and speed of the motion). To eliminate bias, an individual blind to our hypotheses computed all display complexity scores. Because complexity scoring is based on human interpretation of the literature, a second individual (similarly blind to the study motives) independently recomputed complexity scores to ensure that our methodology was repeatable. Indeed, we had a strong correlation between the two sets of scores (R2 = .987, p < .0001).

2.4 Quantifying coloration

We quantified sexual dichromatism using a published score-based index based on human observation (Gray, 1996; Ornelas, González, & Espinosa de los Monteros, 2009). We chose to use this index over measures of plumage brightness (e.g., quantifying position in tetrahedral colour space; Stoddard & Prum, 2008), because our index more closely characterizes complexity, or the number of novel components added to the display (Hebets et al., 2013; Miles et al., 2017). Although humans and birds do not perceive the same range of colours, previous work shows that human vision is a valid and effective proxy for quantifying avian coloration and making robust evolutionary inferences (Seddon, Tobias, Eaton, Ödeen, & Byers, 2010).

As such, we adapted methodology from Ornelas et al. (2009) to compute dichromatism across species. Briefly, using highly accurate handbook plates as a reference (del Hoyo et al., 1999), we divided each bird into 15 distinct plumage regions (Figure S1) and had an individual blind to our study aims compare males and females of each species. Then, each male plumage region was scored based on its similarity or difference from the female—similar regions received a score of 0; regions in which a colour was qualitatively different but shared a fundamental pigment or structural basis received a score of 1; and regions that introduced a new mode of coloration received a score of 2. Again following Ornelas et al. (2009), we classified colour mode using a conservative system where we considered blacks, browns and tans, as well as dilute yellows (“buff”) and red-browns (“rufous”) to be melanin-based, which is consistent with our understanding of avian coloration generated from both eumelanins and phaeomelanins (Hill & McGraw, 2006). Saturated yellows, oranges and reds we considered to be carotenoid-based (Cardoso & Mota, 2008; Ligon et al., 2016). Structural coloration can exist on plumage with either pigment, generating colour in the violet-blue-teal range on melanin pigment and green when combined with carotenoids (Maia, Rubenstein, & Shawkey, 2016), so we considered colours in the violet-green range to be structural (Figure S1). The result of this indexing method is a score for each species (Table S2) that can potentially range from 0 (sexually monomorphic) to 30 (every plumage region changes colour mechanism). As above, all colour data were gathered by an individual blind to the study objectives. To validate repeatability of the dichromatism index, a second individual (again blind to our hypotheses) independently corroborated the scoring process. Both scores were highly correlated (R2 = .983, p < .0001).

We further probed visual signal diversity by examining pigment origins of male coloration. To do this, we followed the scheme outline above to determine whether each male plumage patch either (1) incorporated carotenoid coloration, or (2) only expressed melanin pigment (only one species, Cicinnurus regius, has unpigmented plumage regions). We then calculated the proportion of carotenoid patches relative to the total number of plumage regions urn:x-wiley:00218790:media:jane12824:jane12824-math-0001. This results in a proportion between 0 and 1, where species that score near 1 use carotenoid-based colours on a greater number of plumage patches compared to the majority melanin species that score closer to 0. Carotenoid proportion therefore is inversely related to the extent of colour generated by melanin (melanin proportion = 1 – carotenoid proportion) in all species except Cicinnurus regius. We therefore ran additional analyses using melanin proportion as a dependent variable, but these data are not included in figures due to redundancy. We also did not evaluate structural coloration, because it exists on a subtle continuum from matte feathers (no structural colour), to glossy colours, to new colours introduced altogether (Maia, D'Alba, & Shawkey, 2011). As such, it is nearly impossible to assess structural coloration through the lens of complexity using handbook plates, as our index could not account for subtle innovations in structural modifications.

3 RESULTS

We found there to be high diversity in both gesture complexity and dichromatism scores across the birds of paradise (Figure 1), and there was no correlation between gesture complexity and sexual dichromatism (F1,34 = 0.1287, R2 = .0263, p = .722). When fitting a series of continuous trait models to each variable (Table S3), we found that each one was best fit by Brownian motion (BM) or a modification thereof. Specifically, gestural complexity scores appear to evolve under full BM (AICc = 197.35), sexual dichromatism scores are best fit with a lambda transformation (AICc = 223.3, λ = 0.856), and kappa processes underlie both carotenoid proportion (AICc = −25.28, κ = 0.44) and melanin proportion (AICc = −21.11, κ = 0.15). For each of these dependent variables, we therefore supplied trees with the appropriate branch length transformation to statistical models.

We first found that sexual dichromatism changed among species with different social mating systems (Figure 2a), where lekking species had significantly higher dichromatism scores than non-lekking species (F1,34 = 24.628, p = .033, λ = 0.857). However, there was no difference among lekking and non-lekking species for carotenoid proportion (F1,34 = 15.53, p = .100, κ = 0.44), melanin proportion (F1,34 = 18.69, p = .100, κ = 0.15) or gestural complexity score (F1,34 = 14.671, p = .114).

Details are in the caption following the image
Elements of visual display complexity as they vary among lekking (low intersexual selection pressure) and non-lekking (high intersexual selection) species (a); by the number of males displaying together (b), which indicates intrasexual selection pressure; and by display habitat (c). Statistically significant differences are indicated with an asterisk (*), whereas non-significant comparisons read n.s. Note that because values were compared using phylogenetic ANOVA, what appear to be qualitative differences (as in carotenoid ornamentation among lekking and non-lekking species) are not always significant, because these trait differences are indistinguishable from discrepancies produced by evolutionary history alone [Colour figure can be viewed at wileyonlinelibrary.com]

Next, species in which multiple males display at a single court had significantly more male carotenoid ornaments than those that display alone (Figure 2b; F1,34 = 17.610, p = .006, κ = 0.44). The reverse was true for melanin patch proportion, as solitary-displaying males had higher melanin proportion scores (F1,34 = 17.84, p = .008, κ = 0.15). However, there was no such difference for dichromatism (F1,34 = 2.024, p = .333, λ = 0.857) or gestural display complexity scores (F1,34 = 1.822, p = .180).

Finally, species that display in the forest understorey had greater gestural complexity scores than those that dance in upper strata (Figure 2c; F1,34 = 15.471, p = .005). Meanwhile, display stratum does not explain variation in male coloration, either in total colour complexity score (F = 1.591,34, p = .526, λ = 0.857) or in the relative amount of carotenoid patches (F1,34 = 0.79, p = .526, κ = 0.44) or melanin patches (F1,34 = 0.79, p = .526, κ = 0.15).

4 DISCUSSION

By breaking down complex visual displays into their constituent parts, we dissect the diverse evolutionary pressures that shape the complexity of the display’s individual components. We first show that lekking species (which undergo extreme levels of intersexual selection) are more sexually dichromatic than non-lekking species, without respect to the pigment origin of male coloration. In other words, species undergoing a stronger level of sexual selection by female choice are more dichromatic, compared to species subject to a more moderate degree of intersexual selection. Meanwhile, species in which multiple males display together have more red and yellow ornaments (and less apparent melanin coloration) than those that display alone. Because males that display together engage in direct competition for display space and dispersed males do not, this means that aggregate displayers should be experiencing a stronger degree of intrasexual selection. Therefore, our data suggest that shifting intrasexual selection pressure is associated with changes in carotenoid ornamentation. Finally, we find an association between display habitat and gestural display complexity, where species that signal in the forest understorey have more complex dances than those that signal in the canopy and midstorey. This implies that habitat does indeed influence gestural display complexity. Altogether, these findings point to three distinct evolutionary drivers operating in tandem to guide divergence in three different components of an integrated visual display phenotype (Figure 3). Bird of paradise displays therefore exhibit modularity (Hebets et al., 2016), because individual signal components are modified independently despite their function to the integrated visual display. This implies that the total complexity of integrated displays is the result of multiple evolutionary forces acting synergistically, or in tandem, rather than any one operating in isolation.

Details are in the caption following the image
Signal space schematic depicting how female choice (red arrow), direct male–male competition (blue arrow) and display habitat (orange arrow) each influence visual displays in birds of paradise. The four plotted points correspond to four representative species that exemplify these effects: (1) Manucodia chalybatus, a non-lekking species that displays alone in the canopy, is sexually monochromatic and performs a relatively simple display, (2) male Astrapia rothschildi, which display in the canopy at a solitary lek, are highly sexually dichromatic, (3) Paradisaea rubra gather in large numbers to display in canopy leks and employ numerous carotenoid ornaments, and (4) Parotia carolae have the most complex dance routines of all, performing in groups of up to 6 on their forest floor leks [Colour figure can be viewed at wileyonlinelibrary.com]

One of the most interesting insights from our data is that the bright plumage of male birds of paradise evolved in response to sexual selection by both female choice and male–male competition operating on different colours. Indeed, we find that overall dichromatism is associated with increasing intersexual selection pressure, while aggregate display dynamics predict a shift from melanin- to carotenoid-based coloration. Why would two indices of sexual selection predict different types of colour ornament shifts? One answer may lie in dichromatic “innovations”, as males with a rare colour pattern can experience elevated mating success (Hughes, Houde, Price, & Rodd, 2013). A similar mechanism could be responsible here, as lekking species are more sexually dichromatic (i.e., the males have more putative novel colours) than non-lekking species. In other words, the species for which female choice is at its most extreme are also those species where males have evolved more plumage ornaments relative to females. Alternatively, female choice may still operate on specific colours in birds of paradise, but this might vary in direction among species. This idea is supported by the fact that plumage can be highly labile (Omland & Lanyon, 2000), and sexual traits persist due to parallel changes in both the male signalling phenotype and female preference for that signal (Servedio, 2016). Indeed, effective colour signals used in mate choice are found in melanin (Siefferman & Hill, 2003), carotenoid (Friedman, McGraw, & Omland, 2014) and structural colours alike (Keyser, 2000).

Meanwhile, birds of paradise undergoing intense direct male–male competition tend to have more carotenoid-based ornaments and fewer melanin patches. This suggests that red and yellow ornaments may function in direct male–male competition, possibly because carotenoid-based ornaments act as an evolutionarily stable mediator of male–male interactions due to their tendency to serve as an honest signal (Ligon et al., 2016; Pryke & Andersson, 2003). In passerines like birds of paradise, these colours are exclusively generated by diet-derived carotenoid pigments (Goodwin, 1980). This means that generating red and yellow ornaments relies not only on an individual's ability to acquire food, but also on converting dietary forms into usable pigments along numerous metabolic pathways (Cardoso & Mota, 2008; Ligon et al., 2016). As a result, carotenoid colours sometimes function as condition-dependent badges used to negotiate male–male competition (Peek, 1972; Pryke & Andersson, 2003). This may also not be the case, however, as carotenoid coloration is not the only route to a condition-dependent ornament. For example, both melanin and structural coloration can also be honest signals due to condition dependence (Roulin, 2016; Siefferman & Hill, 2003), so we cannot rule out the possibility that these alternate modes may also play some role.

Birds of paradise are perhaps best known for their bizarre courtship dances, but our indices of sexual selection do not predict any variation in gestural display complexity scores. This does not mean that gesture is unimportant to mate choice in birds of paradise, of course; for these species, gesture appears to be a foundational element of mate choice, with females closely observing and even probing displaying males before deciding to copulate or visit another display court (Frith & Beehler, 1998; Laman & Scholes, 2012; Scholes, 2008). One explanation for our data is that female birds of paradise likely evaluate gesture on some other qualitative basis, perhaps of motor skill or vigour (Byers et al., 2010), which may influence phenotypic patterning of individual gesture exaggeration and/or coordination instead of complexity. Studies in other avian taxa support this point of view, showing that fraction-of-a-second differences in gestural performance indeed influence female mate choice (Barske, Schlinger, Wikelski, & Fusani, 2011; Manica, Macedo, Graves, & Podos, 2016; Schuppe & Fuxjager, 2018).

We also find that gestural complexity is best explained by display habitat, where males displaying in the forest understorey perform more complex dance routines than those that display in the upper strata. This phenomenon is likely rooted in the complex interactions between signal production, transmission and perception by the receiver, as sexual selection can only act on signals that can be reliably propagated through the environment (Endler, 1992). Although few studies investigate the effect of signalling environment on gesture, previous work shows that anoles similarly overcome visual “noise” in a wind-disturbed habitat by introducing new gestures to their display (Ord et al., 2007). In this case, a broad range of environmental factors may inhibit signal perception. Among dense (understorey) or open (upper strata) display microhabitats, potential sources of ecological pressure for increased complexity may include physical breakup of the scene by foliage (Endler, 1993; Théry, 2001), restricted light availability (White, Zeil, & Kemp, 2015) and/or visual distance from the signaller (Fleishman, 1992). Alternatively, the difference in gestural complexity across display habitats may be a product of physiological and/or morphological constraints associated with dancing on different perching substrates; while most understorey species display on the ground or on vertical perches, canopy-displaying species exclusively use larger perches. How does evolution proceed in the face of these environmental challenges? Using more gestures is only one potential solution to signalling in a challenging environment; alternative routes include enhancing highly directional iridescent ornaments (White et al., 2015), or even modifying the signalling environment itself to maximize light transmission to the display court (Uy & Endler, 2004). Indeed, both of these traits are common in birds of paradise, although they are shared by understorey and canopy displayers alike (Frith & Beehler, 1998).

Importantly, bird of paradise displays are multimodal as well as complex, incorporating many non-visual cues that could also function as redundant messages (Rowe, 1999). For example, most species call extensively before dancing, often using a different perch specifically for vocalizing. Some birds of paradise incorporate tactile and even olfactory signalling into their displays as well, which further expands the opportunities for sexual selection to elaborate the signal (Frith & Beehler, 1998). Therefore, the integrated visual display itself is yet another component embedded in a larger multimodal courtship display, which may evolve in surprising ways. For example, colour and gesture complexity appear to evolve independently (rather than by transfer from one signal to another Mason et al., 2014). However, visual display complexity may still interact differently with other multimodal signals.

5 CONCLUSIONS

Altogether, these results offer novel insight into the macroevolutionary pattern of visual display design: different signal components can be simultaneously and independently influenced by multiple core evolutionary processes, which interact to produce the ultimate integrated visual display. This highlights the remarkable potential of diverse selection regimens, often viewed as discrete operators, to instead function independently on a single signal component, while still interacting with other processes to shape overall complexity. The result is an integrated display that conveys more information than the sum of its constituent signals—and, in the case of extraordinary bird of paradise visual displays, exemplifies the diversifying potential of animal behaviour.

ACKNOWLEDGEMENTS

The work was funded by NSF grant IOS-1655730 to M.J.F. The authors have no conflicts of interest to declare.

    AUTHORs’ CONTRIBUTIONS

    M.C.M. and M.J.F. conceived of and designed the study, analysed the data and wrote the manuscript. Both authors gave final approval of the study for publication.

    DATA ACCESSIBILITY

    Data from this study are available online at the Dryad Digital Repository: https://doi.org/10.5061/dryad.9m47pj0 (Miles & Fuxjager, 2018).

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