The Emergence of Shell Valuable Exchange in the New Guinea Highlands

Shell valuable exchange in the New Guinea Highlands has been a key interest in anthropology, providing insight into economics, aesthetics, and social stratification amongst banded communities. This paper describes how shell exchange at ethnographic present reflects deeper historical processes. We trace the origins and subsequent changes in shell use from the terminal Pleistocene to the Late Holocene at the site of Kiowa in Chimbu Province, Papua New Guinea. Zooarchaeological and technological analyses of Kiowa’s shell artifacts indicates riverine mussel was procured locally from the terminal Pleistocene (9,500–10,000 years ago) and featured as a minor component in the diet into the recent precolonial period. In contrast, evidence for marine shell valuables only appears in the Late Holocene in the form of Trochus armbands and Tegillarca granosa and Polymesoda cf. erosa multifunctional tools. This challenges ideas that associate the gradual dispersal of marine shell into the highlands with the spread of agriculture around the Wahgi Valley at the start of the Holocene, and supports punctuated pulses of coastal contact. In doing so, we formulate a testable model for the development of shell exchange into the highlands, with implications for the emergence of stratification and the conduits between the interior and coast

Creating creativity: reflections from fieldwork

The present article addresses the question of ‘When can we say something is creative?’ and, in answering it, takes a critical stand towards past and present scientific definitions of creativity. It challenges an implicit assumption in much psychological theory and research that creativity exists as an ‘objective’ feature of persons or products, universally recognised and independent of social agreement and cultural systems of norms and beliefs. Focusing on everyday life creative outcomes, the article includes both theoretical accounts and empirical examples from a research exploring creativity evaluations in the context of folk art. In the end, a multi-layered perspective of creativity assessment emerges, integrating dimensions such as newness and originality, value and usefulness, subjective reception and cultural reception of creative products. Implications for how we understand and study creativity are discussed

Habitual creativity: revising habit, reconceptualizing creativity.

Current psychological scholarship is based on a dichotomy between habit, associated with automatic reflex behavior, and creativity, which involves deliberation, purpose and heuristic procedures. However, this account is problematic and contradicts everyday experience where mastery, for instance, is one of the highest levels of creative performance achieved within a habitual practice. This article argues that such a separation misrepresents both habit and creativity with important theoretical and practical consequences. A first step toward reconciling the two terms is made by revisiting a series of foundational strands of theory from psychology and related disciplines. In light of these sources, habit is reformulated as a social, situated, and open system, and habitual creativity defined as the intrinsically creative nature of customary action, reflected in the way habits adjust to dynamic contexts, the way they are used, combined, and ultimately perfected. Further distinctions are then made between habit, improvisation, and innovation. Both improvisational and innovative creativity are embedded in habitual forms and this is well illustrated by craftwork: a practiced type of activity on the basis of which artisans improvise, whenever obstacles or difficulties are encountered, and even get to innovate when their intention is to generate novel artifacts or work techniques. (PsycINFO Database Record (c) 2012 APA, all rights reserved