>explain pic relatedEurope was at the perfect crossroads of necessity and opportunity due to various geographic and economic conditions.
You can see it more in detail in this video on the dialectical development of history
https://www.youtube.com/watch?v=wnqS7G3LmMo?t=1619 The book this is from (Murray's Human Accomplishment) literally tried to explain why. From the ALA review:
"Murray carefully examines why. The greatest achievements of India, China, Japan, and Islam occurred well before the West took off during the Renaissance, and each of those cultures valued duty, family, and consensus, whereas the West prefers individualism, the sine qua non of scientific debate and discovery."
One of the other times someone cited this book (it's written by one of the Bell Curve guys) an anon pointed this out.
This review talked about flaws in the methodology:
https://www.currentaffairs.org/2017/07/why-is-charles-murray-odiousOne of the most notable flaws is that it excludes anything after 1950. Everything after 1950 is apparently not an objective human accomplishment by definition to Murray.
Quote from above review:
"Before 1950, black people had invented gospel, blues, jazz, R&B, samba, meringue, ragtime, zydeco, mento, calypso, and bomba. During the early 20th century, in the United States alone, the following composers and players were active: Ma Rainey, W.C. Handy, Scott Joplin, Louis Armstrong, Jelly Roll Morton, James P. Johnson, Fats Waller, Count Basie, Cab Calloway, Art Tatum, Charlie Parker, Charles Mingus, Lil Hardin Armstrong, Bessie Smith, Billie Holliday, Sister Rosetta Tharpe, Mahalia Jackson, J. Rosamond Johnson, Ella Fitzgerald, John Lee Hooker, Coleman Hawkins, Leadbelly, Earl Hines, Dizzy Gillespie, Miles Davis, Fats Navarro, Roy Brown, Wynonie Harris, Blind Lemon Jefferson, Blind Willie Johnson, Robert Johnson, Son House, Dinah Washington, Thelonious Monk, Muddy Waters, Art Blakey, Sarah Vaughan, Memphis Slim, Skip James, Louis Jordan, Ruth Brown, Big Jay McNeely, Paul Gayten, and Professor Longhair. (This list is partial.) When we talk about black American music of the early 20th century, we are talking about one of the most astonishing periods of cultural accomplishment in the history of civilization. We are talking about an unparalleled record of invention, the creation of some of the most transcendently moving and original artistic material that has yet emerged from the human mind. The significance of this achievement cannot be overstated… Yet in Charles Murray’s “objective” measure of the worth of Western musical creations, none of this appears. Instead, in addition to the usual heavyweights like Bach and Wagner, we get a slew of minor, forgotten English composers like John Jenkins, Nicholas Lanier, and Matthew Locke. This is (and I am not kidding) because Murray believes that their work better fits the Aristotelian standard for transcendent human feeling[.]"