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| Author | : Nancy Aiken |
| Publisher | : Praeger |
| Total Pages | : 0 |
| Release | : 1998-04-30 |
| Genre | : Art |
| ISBN | : 0275959015 |
Answers the question "how does art evoke emotion?" and explains how art is a powerful factor in human social behavior.
| Author | : Nancy Aiken |
| Publisher | : Praeger |
| Total Pages | : 208 |
| Release | : 1998-04-30 |
| Genre | : Art |
| ISBN | : |
Answers the question "how does art evoke emotion?" and explains how art is a powerful factor in human social behavior.
| Author | : MONA |
| Publisher | : |
| Total Pages | : |
| Release | : 2016-12-01 |
| Genre | : |
| ISBN | : 9780992419295 |
| Author | : Matthew Rampley |
| Publisher | : Penn State Press |
| Total Pages | : 201 |
| Release | : 2017-01-12 |
| Genre | : Art |
| ISBN | : 0271079002 |
The surge of evolutionary and neurological analyses of art and its effects raises questions of how art, culture, and the biological sciences influence one another, and what we gain in applying scientific methods to the interpretation of artwork. In this insightful book, Matthew Rampley addresses these questions by exploring key areas where Darwinism, neuroscience, and art history intersect. Taking a scientific approach to understanding art has led to novel and provocative ideas about its origins, the basis of aesthetic experience, and the nature of research into art and the humanities. Rampley’s inquiry examines models of artistic development, the theories and development of aesthetic response, and ideas about brain processes underlying creative work. He considers the validity of the arguments put forward by advocates of evolutionary and neuroscientific analysis, as well as its value as a way of understanding art and culture. With the goal of bridging the divide between science and culture, Rampley advocates for wider recognition of the human motivations that drive inquiry of all types, and he argues that our engagement with art can never be encapsulated in a single notion of scientific knowledge. Engaging and compelling, The Seductions of Darwin is a rewarding look at the identity and development of art history and its complicated ties to the world of scientific thought.
| Author | : Charissa N. Terranova |
| Publisher | : Bloomsbury Publishing |
| Total Pages | : 336 |
| Release | : 2015-10-10 |
| Genre | : Art |
| ISBN | : 0857728075 |
In this groundbreaking book, Charissa Terranova unearths a forgotten narrative of modernism, which charts the influence that biology, General Systems Theory and cybernetics had on art in the twentieth century. From kinetic and interactive art to early computer art and installations spanning an entire city, she shows that the digital image was a rich and expansive artistic medium of modernism. This book links the emergence of the digital image to the dispersion of biocentric aesthetic philosophies developed by Bauhaus pedagogue Laszlo Moholy-Nagy, from 1920s Berlin to the Massachusetts Institute of Technology in the 1970s. It uncovers seminal but overlooked references to biology, the organism, feedback loops, emotions and the Gestalt, along with an intricate genealogy of related thinkers across disciplines. Terranova interprets anew major art movements such as the Bauhaus, Op Art and Experiments in Art and Technology (E.A.T.), by referencing contemporary insights from architects, embryologists, electrical engineers and computer scientists, among others.This book reveals the complex connections between visual culture, science and technology that comprise the deep history of twentieth-century art.
| Author | : Ellen Dissanayake |
| Publisher | : University of Washington Press |
| Total Pages | : 268 |
| Release | : 2015-09-01 |
| Genre | : Social Science |
| ISBN | : 0295998385 |
Every human society displays some form of behavior that can be called “art,” and in most societies other than our own the arts play an integral part in social life. Those who wish to understand art in its broadest sense, as a universal human endowment, need to go beyond modern Western elitist notions that disregard other cultures and ignore the human species’ four-million-year evolutionary history. This book offers a new and unprecedentedly comprehensive theory of the evolutionary significance of art. Art, meaning not only visual art, but music, poetic language, dance, and performance, is for the first time regarded from a biobehavioral or ethical viewpoint. It is shown to be a biological necessity in human existence and fundamental characteristic of the human species. In this provocative study, Ellen Dissanayake examines art along with play and ritual as human behaviors that “make special,” and proposes that making special is an inherited tendency as intrinsic to the human species as speech and toolmaking. She claims that the arts evolved as means of making socially important activities memorable and pleasurable, and thus have been essential to human survival. Avoiding simplism and reductionism, this original synthetic approach permits a fresh look at old questions about the origins, nature, purpose, and value of art. It crosses disciplinary boundaries and integrates a number of divers fields: human ethology; evolutionary biology; the psychology and philosophy of art; physical and cultural anthropology; “primitive” and prehistoric art; Western cultural history; and children’s art. The final chapter, “From Tradition to Aestheticism,” explores some of the ways in which modern Western society has diverged from other societies--particularly the type of society in which human beings evolved--and considers the effects of the aberrance on our art and our attitudes toward art. This book is addressed to readers who have a concerned interest in the arts or in human nature and the state of modern society.
| Author | : Richard A. Richards |
| Publisher | : Cambridge University Press |
| Total Pages | : 153 |
| Release | : 2019-05-23 |
| Genre | : Science |
| ISBN | : 1108575188 |
Biological accounts of art typically start with evolutionary, psychological or neurobiological theories. These approaches might be able to explain many of the similarities we see in art behaviors within and across human populations, but they don't obviously explain the differences we also see. Nor do they give us guidance on how we should engage with art, or the conceptual basis for art. A more comprehensive framework, based also on the ecology of art and how art behaviors get expressed in engineered niches, can help us better understand the full range of art behaviors, their normativity and conceptual basis.
| Author | : Bruce Adolphe |
| Publisher | : Oxford University Press, USA |
| Total Pages | : 300 |
| Release | : 2001 |
| Genre | : Psychology |
| ISBN | : 9780198507154 |
After Newton died in 1727, a monument was erected in the Scientist's Corner of Westminster Abbey. It was decorated with a pile of four books and adorned with cherubs holding a prism, a telescope and newly minted coins. The implication is clear. Newton's towering intellect and god-given giftfor creative thinking was the origin of his inspiration. Not far away, at the front of the monument to Newton, is the tomb of Charles Darwin, who published On the Origin of Species, which first discussed the evolution of man. The proximity of the monuments is telling. If we are to define thesingle, most unique human attribute evolution has produced, it must be our ability to think creatively. Thinking is the ultimate human resource. Breaking through the barriers posed by dogma, and reaching beyond the limits of established patterns of thinking to discover what is new and useful isthe engine that drives society. This book, which had its genesis in a conference organized by Karl Pfenninger, and held at Aspen, Colorado, entitled 'Higher brain function, art and science: an interdisciplinary examination of the creative process', brings together articles by thirteen contributorsfrom the fields of science, art and music. Two of the contributors have been awarded Nobel prizes, and all are distinguished representatives of their fields. The Origins of Creativity is organized around four central themes of creativity: the creative experience in art and science; the biologicalbasis of imagination, emotion and reason; creative powers and the environment; and the mind's perception of patterns. The views of artists, who couch their ideas in more metaphorical language, mingle with the analytical thoughts of scientists who strive to understand how the brain generates imagesand ideas. The voices of creators - artist, scientist, mathematician - and of those who study creative activity - neuroscientist, psychologist, philosopher - generate a broad spectrum of views on creativity whose integration offers new insights and becomes a creative act in itself. This bookoffers insights into the origins of human creativity to scientists, artists, and general readers. Its inter-disciplinary authorship presents a uniquely broad perspective on current research, and the style throughout is accessible and engaging.
| Author | : Ellen Dissanayake |
| Publisher | : University of Washington Press |
| Total Pages | : 268 |
| Release | : 2015-08-17 |
| Genre | : Art |
| ISBN | : 029599746X |
To Ellen Dissanayake, the arts are biologically evolved propensities of human nature: their fundamental features helped early humans adapt to their environment and reproduce themselves successfully over generations. In Art and Intimacy she argues for the joint evolutionary origin of art and intimacy, what we commonly call love. It all begins with the human trait of birthing immature and helpless infants. To ensure that mothers find their demanding babies worth caring for, humans evolved to be lovable and to attune themselves to others from the moment of birth. The ways in which mother and infant respond to each other are rhythmically patterned vocalizations and exaggerated face and body movements that Dissanayake calls rhythms and sensory modes. Rhythms and modes also give rise to the arts. Because humans are born predisposed to respond to and use rhythmic-modal signals, societies everywhere have elaborated them further as music, mime, dance, and display, in rituals which instill and reinforce valued cultural beliefs. Just as rhythms and modes coordinate and unify the mother-infant pair, in ceremonies they coordinate and unify members of a group. Today we humans live in environments very different from those of our ancestors. They used ceremonies (the arts) to address matters of serious concern, such as health, prosperity, and fecundity, that affected their survival. Now we tend to dismiss the arts, to see them as superfluous, only for an elite. But if we are biologically predisposed to participate in artlike behavior, then we actually need the arts. Even -- or perhaps especially -- in our fast-paced, sophisticated modern lives, the arts encourage us to show that we care about important things.
| Author | : Alessandro Minelli |
| Publisher | : Springer Science & Business Media |
| Total Pages | : 397 |
| Release | : 2012-12-06 |
| Genre | : Science |
| ISBN | : 9401196435 |
To some potential readers of this book the description of Biological System atics as an art may seem outdated and frankly wrong. For most people art is subjective and unconstrained by universal laws. While one picture, play or poem may be internally consistent comparison between different art products is meaningless except by way of the individual artists. On the other hand modern Biological Systematics - particularly phenetics and cladistics - is offered as objective and ultimately governed by universal laws. This implies that classifications of different groups of organisms, being the products of systematics, should be comparable irrespective of authorship. Throughout this book Minelli justifies his title by developing the theme that biological classifications are, in fact, very unequal in their expressions of the pattern and processes of the natural world. Specialists are imbibed with their own groups and tend to establish a consensus of what constitutes a species or a genus, or whether it should be desirable to recognize sub species, cultivars etc. Ornithologists freely recognize subspecies and rarely do bird genera contain more than 10 species. On the other hand some coleopterists and botanists work with genera with over 1500 species. This asymmetry may reflect a biological reality; it may express a working practicality, or simply an historical artefact (older erected genera often contain more species). Rarely are these phenomena questioned.
