In this study, the author empirically tests a formulation of Ellen Dissanayake's evolutionary theory of art, which argues that art evolved to promote group cohesion. The hypotheses derived from this theory and tested in this study specifically focus on ritual art and its relationships to various proxies for group cohesion such as community conflict and internal warfare. Results show that the presence of ritual art is significantly higher where certain measures of group cohesion are also higher (including lower internal warfare, lower conflict between communities of the same society, and lower frequency of violent conflict between groups within local communities).

In this study, the author empirically tests a formulation of Ellen Dissanayake's evolutionary theory of art, which argues that art evolved to promote group cohesion. The hypotheses derived from this theory and tested in this study specifically focus on ritual art and its relationships to various proxies for group cohesion such as community conflict and internal warfare. Results show that the presence of ritual art is significantly higher where certain measures of group cohesion are also higher (including lower internal warfare, lower conflict between communities of the same society, and lower frequency of violent conflict between groups within local communities).

In this study, the author empirically tests a formulation of Ellen Dissanayake's evolutionary theory of art, which argues that art evolved to promote group cohesion. The hypotheses derived from this theory and tested in this study specifically focus on ritual art and its relationships to various proxies for group cohesion such as community conflict and internal warfare. Results show that the presence of ritual art is significantly higher where certain measures of group cohesion are also higher (including lower internal warfare, lower conflict between communities of the same society, and lower frequency of violent conflict between groups within local communities).

In this study, the author empirically tests a formulation of Ellen Dissanayake's evolutionary theory of art, which argues that art evolved to promote group cohesion. The hypotheses derived from this theory and tested in this study specifically focus on ritual art and its relationships to various proxies for group cohesion such as community conflict and internal warfare. Results show that the presence of ritual art is significantly higher where certain measures of group cohesion are also higher (including lower internal warfare, lower conflict between communities of the same society, and lower frequency of violent conflict between groups within local communities).

In this study, the author empirically tests a formulation of Ellen Dissanayake's evolutionary theory of art, which argues that art evolved to promote group cohesion. The hypotheses derived from this theory and tested in this study specifically focus on ritual art and its relationships to various proxies for group cohesion such as community conflict and internal warfare. Results show that the presence of ritual art is significantly higher where certain measures of group cohesion are also higher (including lower internal warfare, lower conflict between communities of the same society, and lower frequency of violent conflict between groups within local communities).

This book examines the difference between warless and warlike societies and attempts to determine the point at which a society becomes warlike. The author suggests that differences between warless and warlike societies are mostly organizational and hypothesizes that "unsegmented" societies, or societies that have a weaker sense of group identity and cohesion, will be more likely to be warless than "segmented" societies. Several tests are presented. Results generally support the hypothesis.

This book examines the difference between warless and warlike societies and attempts to determine the point at which a society becomes warlike. The author suggests that differences between warless and warlike societies are mostly organizational and hypothesizes that "unsegmented" societies, or societies that have a weaker sense of group identity and cohesion, will be more likely to be warless than "segmented" societies. Several tests are presented. Results generally support the hypothesis.

This chapter examines the relationship between social cohesion (measured using variables like subsistence type, stable work teams, and settlement patterns) and musical cohesion. All hypotheses are supported.

Research sampled 143 societies from the Standard Cross Cultural Sample to test the relationship between honor culture, social rewards for warriors, and intergroup conflicts. Using mediation analysis based on multiple regression, and structural equation modeling, the research supported the theory that honor culture was positively associated with intergroup conflict, and that this relationship was mediated by social rewards for warriors.

This study investigates variation in rates of violence against women, primarily interested in two main hypotheses: the Culture of Violence Hypothesis and the Functional Violence Hypothesis. Using the SCCS along with variables from Broude & Greene (1976) and Ember & Ember (1992), the study concluded that warring societies were associated with a greater intolerance of rape, contradicting the Culture of Violence Hypothesis, whereas wife beating, as well as tolerance towards rape, increased with scarcity of women, in line with the evolutionary Functional Violence Hypothesis.