Evolution The violent spirit to forge a civilization vol 1

(Rodrigo GrandaB_hQJo) #1

«The images stamped on the cavern will become words in


the course of time. Their semantic development records the


historical transition of humanity, from the world that revolves


around the protection of the cave, to the need to become nomadic.


But how can a nomad carry this teaching, this practice, painting


on the wall becomes part of body aesthetics and movable art (^) [ 20 ].


These manual skills are essential for the evolution of humanity


from a rural environment to the urban space. Those beasts that we


dominated through violence, led us to the application of Natural


Breeding and Selected Genetics techniques.»


«Although nowadays there is no point in breeding an ox for


one gastronomic feast a year, because we know that no two oxen


are the same, each animal has its own genetics. During the period


from being nomads to a formally established population, we


experimented with oxen and buffaloes, so we subjected them to


cultivate and thresh the crops, although we don't know if it was


with the intention of perfecting the technique or a simple accident.


The cave walls were our first qualified centre for improving


animal genetics. In these traces is the first genetic valuation, as


the oxen and their breeds were selected not only for feeding the


hominid group, but also for their participation in acts of a


supernatural nature under the influence of perception-enhancing


stimulants.»


«Cave humans did not have a procedure to facilitate such a


sophisticated collection of connected documents as the "World


Wide Web" (^) [ 21 ], basically their means of communication was


guttural noises and cries accompanied by mimicry. In the absence


of the ability to reproduce text and graphics mechanically, the


residue objects, under a process of accident-based


experimentation, give rise to three-dimensional objects. This


three-dimensional object art has the particularity of being its own


transport mechanism or, from another point of view, a way of


taking the activity of painting out into the open.»

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