This book explores the first encounters between Samoans and Europeans up to the arrival of the missionaries, using all available sources for the years 1722 to the 1830s, paying special attention to the first encounter on land with the Laperouse expedition. Many of the sources used are French, and some of difficult accessibility, and thus they have not previously been thoroughly examined by historians. Adding some Polynesian comparisons from beyond Samoa, and reconsidering the so-called 'Sahlins-Obeyesekere debate' about the fate of Captain Cook, 'First Contacts' in Polynesia advances a hypothesis about the contemporary interpretations made by the Polynesians of the nature of the Europeans, and about the actions that the Polynesians devised for this encounter: wrapping Europeans up in 'cloth' and presenting 'young girls' for 'sexual contact'. It also discusses how we can go back two centuries and attempt to reconstitute, even if only partially, the point of view of those who had to discover for themselves these Europeans whom they call 'Papalagi'. The book also contributes an additional dimension to the much-touted 'Mead-Freeman debate' which bears on the rules and values regulating adolescent sexuality in 'Samoan culture'. Scholars have long considered the pre-missionary times as a period in which freedom in sexuality for adolescents predominated. It appears now that this erroneous view emerged from a deep misinterpretation of Laperouse's and Dumont d'Urville's narratives.

“The great value of [this work] is the uniformly high quality of papers and their revelation of contemporary trends in Oceanic art research.” —Ethnoarts

"These notes are about the process of design: the process of inventing things which display new physical order, organization, form, in response to function." This book, opening with these words, presents an entirely new theory of the process of design. In the first part of the book, Christopher Alexander discusses the process by which a form is adapted to the context of human needs and demands that has called it into being. He shows that such an adaptive process will be successful only if it proceeds piecemeal instead of all at once. It is for this reason that forms from traditional un-self-conscious cultures, molded not by designers but by the slow pattern of changes within tradition, are so beautifully organized and adapted. When the designer, in our own self-conscious culture, is called on to create a form that is adapted to its context he is unsuccessful, because the preconceived categories out of which he builds his picture of the problem do not correspond to the inherent components of the problem, and therefore lead only to the arbitrariness, willfulness, and lack of understanding which plague the design of modern buildings and modern cities. In the second part, Mr. Alexander presents a method by which the designer may bring his full creative imagination into play, and yet avoid the traps of irrelevant preconception. He shows that, whenever a problem is stated, it is possible to ignore existing concepts and to create new concepts, out of the structure of the problem itself, which do correspond correctly to what he calls the subsystems of the adaptive process. By treating each of these subsystems as a separate subproblem, the designer can translate the new concepts into form. The form, because of the process, will be well-adapted to its context, non-arbitrary, and correct. The mathematics underlying this method, based mainly on set theory, is fully developed in a long appendix. Another appendix demonstrates the application of the method to the design of an Indian village.