Updated: Oct 26
There seems to be a diversity paradox when focused on inconsequential phenotypic characteristics like sex, religion, or skin color. As one group strives to increase diversity, there is a subsequent alienation of others by default. Diversity of thought is more important than diversity of the phenotype. Fortunately, increased interactions between groups of varying phenotypes and gender portends a strong tendency to increase thought diversity.
Homogenous genetic populations are most susceptible to groupthink. Strong personalities extinguish competing thoughts occasionally at the expense of progress. No single individual possesses the ability to predict the future, make decisions for all populations, or dictate the best course of action. Unchecked ego could entertain this fallacy.
According to a few academic articles, Papua New Guinea and the Congo are the "most diverse" countries on the planet. This is a form of colonial ethnocentrism as it calculates each ethnic subgroup or language as a unit of diversity. It should surprise no one that Hutu and Tutsi violence in Africa was a European fabrication resulting in untold atrocities for the sake of mining. America is likely the most diverse country on Earth even though some scientists suggest Canada is more diverse than the US. Instead of using ethnic subgroups (determined by non-native scientists), we should analyze cladograms and phylogenetic trees to assess the variation of diversity relative to populations in space and time.
Diversity of appearance or self identification, being a reliable surrogate for alienation, might well be supplanted with the tangible contributions and thoughts of the individual.
Marino Marini (1901-1980)
Famous for his sculpture, Italian Marino Marini was also a talented painter and graphic artist. He began studying art in his teens, and was trained as a sculptor at the Academia di Belle Arti. Even at this early stage, he experimented with different methods, materials and subject matter. Later, while studying in Paris, he became associated with Picasso, Henry Moore and other renowned modern artists. He was heavily involved with sculpture during this period, and when he returned to Italy, he began teaching outside Milan. World War II impacted Marini greatly; he became keenly aware of the suffering he witnessed in Italy and allowed his art to express his new humanist outlook. His work deals almost exclusively with three themes: the female figure, the horse and rider, and jugglers and dancers. Each subject matter had symbolism, both personal and universal. The female figure was symbolic of fertility; the horse and rider symbolized man’s attempt to control instinct. Marini’s jugglers and dancers show his innate optimism and capture movement and vibrancy. Though Marini died in 1980, his legacy continues in the Marino Marini Museum in Florence, which houses 200 of his pieces.