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Taking heads isn't my cup of tea, but I have less difficulty understanding the cultural bases of doing so than I do of the apparent inhumanity of, say, the Yanamano or (closer to home) of the Nazi movement of the middle third of the 20th century in what might arguably have been the most culturally advanced society in Europe at the end of the 19th century.

One point: mortal combat among animals of the same species is not common. The more usual pattern is stylized or ritualized combat over resources (usually territory), in which one member concedes without being killed or injured.

Miller draws upon Darwinís theories on sexual selection (which have generally been overshadowed by his more universally recognized thoughts on natural selection), and comes up with an engaging and very readable exploration of behavioral psychology and among other things, the evolutionary implications of the artistic impulse from the Pleistocene onward.

Boas was on to something, and Millerís ideas strike me as complimentary and mutually reinforcing. While Boas only mentions the personal creative satisfaction of the artisan him or herself, the idea that creative virtuosity could serve as an appeal to prospective mates, seems like a fairly reasonable extension of his conclusions on art motives? and one that could reinforce the artisans own pleasure in the aesthetically creative act.

A final comment or two on head hunting? for the majority of us who will read this discussion, I think it is safe to say that if this phenomenon is of interest at all, then at most we may possibly gain an intellectual understanding of why various societies might indulge in headhunting, but our own deeply ingrained cultural praxis will prevent us from ever looking at headhunting the way someone who is an autochthonous member of a headhunting society might.

For example, in the heat of battle soldiers are supposed to kill their opponents. As one recent incident in Faluja, Iraq illustrated however, after an opponent was injured? A soldier who then caused the death of that opponent was deemed a murderer. My intention is not to make any moral judgment here?

Although there are a lot of great artists graduated from art schools. There are also a lot of great artists never go to any art schools.

Human behavior, it seems to me, has obviously innate components. We are certainly hard-wired not to try to fly off buildings, and the fear of stepping off a cliff when we can see that there's no place near to land arises pretty early.

But most cultural activities and ethical consciousness are learned behavior (in my judgment). Children learn to not be cruel, they aren't born empathetic.

One of the editorial reviews has this summary: orenz presents his findings on the mechanism of aggression and how animals control destructive drives in the interest of the species.? From what I can glean from other review comments there, this control of the destructive drive in animals is contrasted with the apparent lack of same among humans.

While we are on the subject of good books, and the matter of behaviour and culture and how these things evolved, I was reminded of another very thought provoking and enjoyable book by Geoffery Miller, titled The Mating Mind?

While the Chalmer incident left a powerful impression on the mind of missionaries, the Rockefeller incident is the one that tends to linger most in the thoughts of those of us who are interested in the art and culture of this area. This latter event happened in the Asmat region, which is West through the Torres Straight and up along the coast of West Papua (Indonesian side) in relation to Goaribari Island where the Gope board that started this thread originated.

Of course, people from outside headhunting cultures, that become the victims of headhunting will always have a degree of sensational interest attached to their stories just because of the relative novelty of the event.
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Artists made great contribution to the world. But what they got is usually much less than what whey gave. Many great artists lived a suffering lives. After they are dead, their art works become invaluable.

The argument is that such individuals are more desirable to the opposite sex and hence are more likely to pass their skills and aesthetic tendencies on to progeny? Reinforcing the creative/artistic tendencies of the species in the following generations.

Of course there are critics of these ideas, as there always are with anything of this sort, especially when ideas like Miller manage to exceed the boundaries of the specialized scientific community and generate interest among aymen but critiques aside, Miller perspective makes a lot of sense to me in general.


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