childless men are pillars of human society

leishmaniasis sufferer offers a helping hand

Humans evolved as cooperative breeders.  A recently published study of two hunter-gatherer societies documents that childless adult males provided necessary food resources to middle-aged breeders. The provisioning was not kin-based but broader, need-based food sharing.  Hunter-gather societies are the social form of all but roughly the last 12,000 years of human history.  Hence, throughout most of human history, childless men have been essential elements of human society.

Who exactly are these heroes of human evolution?  An Ache hunter-gatherer group from the tropical forests of Eastern Paraguay provides evidence.  In the pre-contact year of 1970, that group consisted of 142 adult females, 167 adult males, and 236 children ages 15 years or less (dependent children).  The women generally had better reproductive opportunities than did the men: 69% of women had surviving dependents, while only 54% of men did.  Middle-aged breeding pairs typically had a significant food deficit for themselves and their dependent children.  The childless men who provided the critical help to the active breeders included two men with major skin disfigurations, two mildly handicapped men, three homosexual men, and several men who “had personality traits that reportedly precluded their chance of mating.”

Such men, not the men of heroic legends, are the true heroes of human history.

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Referenced study: Hill, Kim, and A. Magdalena Hurtado, “Cooperative Breeding in South American hunter-gatherers.”  Proc Biol Sci. 2009 November 7; 276(1674): 3863–3870. Published online 2009 August 19. doi: 10.1098/rspb.2009.1061.

The quotation above is from id. p. 3866.  Recent gynocentric scholarship has placed allomothers and grandmothers at the center of human evolution.  But little evidence prior to the development of agriculture supports that view.

historical roots of the Academy Awards

The Holland Brothers opened the first commercial movie exhibition business in a converted shoe store in New York on April 14, 1894. For 25 cents, a customer could view five of the ten, roughly half-minute films available for viewing in Kinetoscopes.  Thomas Edison made the films in his Black Maria studio in West Orange, New Jersey.  The films offered were:

  1. Sandow.  Eugen Sandow was a German strongman.  Probably this 1894 Sandow film.
  2. Roosters.  A cockfight.  Probably this cockfight film.
  3. Bertoldi (mouth support).  Ena Bertoldi was a British vaudeville contortionist.  Film apparently not available on the Internet.  Here’s contortionist D. Odbayasakh performing this move at the opening of the Hamtdaa: Together exhibit of Mongolian culture.
  4. Bertoldi (table contortion).
  5. Wrestling.
  6. Barber Shop.  Probably this 1893 film.
  7. Blacksmiths.  Probably this film, minus the music.
  8. Horse Shoeing.
  9. Highland Dance.
  10. Trapeze.  Probably this 12.5 second film of a Louis Martinelli trapeze performance.

The Holland Brothers movie exhibition venture was immediately successful.  Within two months the Holland Brothers had opened similar businesses in Chicago and San Francisco.  Here’s some of the subjects available on Kinetoscope films, 1893-1895:

voluptuous Spanish dancer Carmencita, French dancer Armand d’Ary (real name Marthe Armandary), Mexican tightrope dancer Juan Caicedo, comic boxers the Glenroy Brothers, further comic boxers Walton (Charles F.) and Slavin (John C.), genuine boxers Mike Leonard and Jack Cushing, Spanish contortionist Louis Martinelli, Gaiety Girls Lucy Murray and May Lucas, the Rixfords troupe of acrobats, Robetta and Doretto in a Chinese laundry, Princess Ali with her Dance du Ventre (belly dance), George Layman (the original ‘man with a thousand faces’), several artists from Buffalo Bill Cody’s Wild West show, casts of shows such as Charles Hoyt’s A Milk White Flag, and numerous performing animals

When New Jersey State Senator and Asbury Park town founder James Bradley discussed with Thomas Edison bringing film exhibition to Asbury Park, Bradley objected strongly to the film of the dancer Carmencita.  He was afraid that it would shock modesty and purity.  So arrangements were made to show instead Boxing Cats (see video above).

Don’t underestimate the future of YouTube.

prisoners and jail inmates in the U.S. by states, 2005

Getting statistics for persons incarcerated in the U.S. by state is more difficult than one might expect.  Counts of persons in jails, which do not include short-term police lock-ups, are not regularly available by state in the U.S. Bureau of Justice Statistics (BJS) series for prison and jail inmates at midyear.  The most recent year for which jail inmates are available by state is 2005.

Alaska, Connecticut, Delaware, Hawaii, Rhode Island, and Vermont have integrated local-state prison systems. Hence separate jail inmate counts for these states do not exist.  Jail inmates counts for these states can be estimated by assuming that their jail inmates totals have the same proportion in the national jail total as their combined jail-prison totals have in the national combined jail-prison total.

Prisoners held in state and federal prisons are reported annually by state in BJS prisoner publications.  The U.S. Bureau of Justice Statistics’ Prisoners Series (Prisoners in (year)) and its Prison and Jail Inmates at Midyear Series (Prison Inmates at Midyear (year)) both include tables of prisoners by state. These tables are entitled “Prisoners under the jurisdiction of state or federal correctional authorities, by jurisdiction.” The state totals in such tables do not include federal-jurisdiction prisoners held within that state.  The U.S. Federal Bureau of Prisons provides annual counts of federal prisoners by prison in its annual State of the Bureau report, but it does not aggregate these counts by state. The state distribution of federal prisoners differs considerably from the state distribution of state prisoners.  In particular, Kentucky and West Virginia have large shares of federal prisoners relative to their state prisoner shares.

Another complication is the difference between custodial and jurisdictional prisoner counts.  Jails hold in addition to local prisoners some state and federal prisoners because of bed rental agreements, overcrowding constraints, and temporary holding responsibilities. Hence counts of prisoners under the jurisdiction of local officials (local prisoners) are not the same as counts of persons held in local jails.

Jail and prison inmate counts on a specific day also differ from average daily populations across a year.  Seasonality in jail populations is larger than seasonality for prisons, because the average jail stay is less than thirty days, while the average prison stay is over a year.

The Census of Prisons for 2005 and the Census of Jails for 2005 allow these technical complications to be disentangled and analyzed.  Based on data from those sources, here’s prison and jail populations, subtotaled by states.

users transforming content forms

Blogger’s new dynamic views transforms the organization of blog posts. Blogs usually have scrolling posts with web-paged post groups.  If that description seems complicated, you probably have taken for granted the conventional form of a blog.  Blogger dynamic views dissolves that convention and reshapes a blog into a flipcard checkerboard and four other views (change the view via the dropdown tab on the top right). Each different view differs in the arrangement of blog posts and in the flow from one post to another post.

Each Blogger dynamic view replaces the author’s customized presentation.  That replacement concerns authors.  One direction for dynamic views would be to give authors more control over the layout of each dynamic view.  But that’s probably not the direction in which dynamic views points.  With Blogger dynamic views, Google is pushing forward users’ options for blogs’ bindings.

What makes a book is its binding.  Digital content has much greater possibilities for bindings than those for books.  For different users and in different circumstances, different bindings can be more useful and more enjoyable.  Authors should embrace those possibilities.

If you find the text of purplemotes tedious and frustrating, you are welcomed to view just its photos — here’s an apparently ad hoc assortment and here’s the collection of flowers.

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The photo above shows Justin Michael Finnegan‘s book sculpture entitled Frustration (2009).  Finnegan is dyslexic.  His work was on display at the Smithsonian in the exhibit, Revealing Culture.