Now you're calling me psychotic. Oh well, I guess you would know. You don't deny, however, that it might be used for security purposes, which is part of what the military does nowadays in its overseas adventures. I wasn't claiming anything. I was guessing. You don't read very carefully.
Now, here's your chance to complete your denunciation, because I'm venturing into theoretical territory regarding my main objection to some of your statements, namely that there is universal cultural selection for muscularity. I haven't been quite fair to you, it is true, partly because I find any methods about recognition involving photographs or drawings ipso facto suspect.
Some phenomena, such as the evolution, or development, of culture where there is little physical evidence can be explained by a form of modal mathematics which is non-commutative and not subject to interpolation or extrapolation. Subtraction and division are non-commutative: you get a different answer front to back than you do back to front. Nevertheless, they are subject to interpolation. If you start with 100 widgets, and you subtract 20, and then you subtract three unknown numbers, and end up with 20 widgets, you know that the sum of those unknown numbers must be sixty, and you could make an educated guess that what you have is a string of incremental subtractions of twenty widgets each time. The middle can be interpolated from the beginning and end, and some hypotheses can be proposed regarding it.
Suppose, however, that you have the equation A, which gives you the answer B. This can then be restated as the equation B, which gives you the answer C. This can be restated as the equation C, and so on, until you get to Z. Suppose you die of apoplexy after spilling a sixteen ounce cup of soda on your work, obscuring everything from D to U. A colleague discovering your pages tries to reconstruct the middle. He does not know what your alphabet is. He has an equation D to which he can propose an answer and an answer U for which he does not have a question. He surmises correctly that the operations are non-commutative and therefore can only proceed in one direction. Likewise, he sees that the missing pieces, the number of which are not known, are not interpolable because neither the operations nor the units from D to U are given. It could be twenty. It could be a thousand. The terms could be E, F, G, and then again they could be epsilon, theta, pooh-bear, and Darwin's ghost.
The situation is even worse if all you are given is U, U,...,Z. You know that some equation ? preceded and led to U but you have no idea how it was stated. It could be any number of things. It is not implicit in the conversion U to U and cannot be discovered by trying to work your way back from U to U to ?. Just as U is simply a restatement on different terms of U, so ? is simply a restatement of ?, which cannot be extracted from U any more than you could know what U was before you knew the value of U. In other words, no logic connects U, V,...,Z without the intervening U, V,,,,,Z.
It can all be worked out once everything is in place. It all comes clear. Even if only one piece is missing, however, the string is faulty. That one piece could be anything. The elementary reason for this is that U can be restated as U in more than one way. Only one way gives you V but the only way to find this out is to do it.
This is not a fantasy.
It is how music works generally speaking. The relations are all mathematic and the logic runs in one direction only. It is not a series of syllogisms, where the given two of the elements of the syllogism you can piece together the third. Music is a complex mathematics involving pitch and periodic intervals and time. Some of the harmonic changes in Western music are predictable but not the melody. In non-harmonic music like the music of India not even this is true.
It is likely that listening to the first rapid sequences of Beethoven's Fifth, you could surmise that the common figure of four notes, three of equal pitch and the fourth four or five half-steps lower, had already been introduced, but you could not know the dramatic introduction, bom bom bom BOM, G to E-flat. Likewise you could not work your way back to this from the finale.
Not to speak of Beethoven's Ninth. There is no possible way of working your way back from the choral finale to the introduction, or knowing both, calculate what came in between, or knowing the internal elements, calculate the entrance of the chorus. It is simply not possible. Once you hear the whole thing from beginning to end it all makes sense, but you could listen to the first and last movements separately (without knowing they are from the same piece) and not connect them.
So it goes with numerous aspects of cultural evolution, or development. You can observe certain seemingly universal traits of a culture, and then you can surmise that they descend from early human evolution and have been selected genetically as part of the trait-complex of the human animal. But this cannot be positively demonstrated, even by molecular biology. Molecular biology gives you the incidence of received traits linked to DNA. It does not give you the elements of the transfer mechanism, other than the obvious: sex. It does not give you the role of epigenetic factors which are genetic but not heritable. And complex traits that involve many different genetic factors common to all peoples are by definition difficult to trace.
For instance, showing that muscularity holds a certain status in modern humans, common to many cultures, does not make good the argument that it devolves from the evolution to Homo sapiens. This is magical thinking designed to make a certain social point. It looks like it belongs to logic but it has no basis in it.
It doesn't do any good to try to extrapolate the answer from any common dimensions between the 'original' humans and modern 'so-called' primitive cultures. All modern cultures, whether they are stone-age or industrial, bear the same relation to early man of highly evolved functional structures to rudimentary ones, by definition. Rudimentary here doesn't necessarily mean simple. It has been shown in terms of tool technology that even the Neanderthal produced some implements superior to those of modern neolithic cultures. In the evolution of cultures, which necessarily involves the development of language and therefore patterns of thought leading to belief systems of some kind, patterns are evolved that make sense out of chaos. Before the development of belief systems of some kind, all effects happen by chance, and everything happening by chance is one definition of chaos. It leads to a state of endless confusion except for what is at hand in the here and now, a condition of extreme complexity, since nothing repeats itself and all causes are mysteries.
In other words, to make a long story, there is no way to tell by extrapolation how cultural values came about, and no calculation will give it to you, either. The development is non-commutative. It may be pieceable together by other means, but theorizing is incompetent.
If it could be shown that muscularity had some certain value in every culture, the story might be different, but you cannot show this. As to what you do know about culture and cultures, I am fairly confident that you have not thought it through, given it a thorough go-around in the gray matter. If you knew enough about enough cultures, you might have a different take on the genesis and universality of muscularity, anger, and anger recognition. Not every culture reacts in the same way to anger, or to its antonyms. The Trobriand Islanders have little trouble with anger, just to take one instance. They are extremely suspicious of friendly behavior.
That's all, folks. Go have yourself a good laugh, and take a good belt of something strong. You take yourself far too seriously.