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Aspen Ideas Festival Confirmed Speakers
Aspen Ideas Festival Confirmed Speakers Carol Adelman , President, Movers and Shakespeares; Senior Fellow and Director, Center for Global Prosperity, The Hudson Institute Kenneth Adelman , Vice President, Movers and Shakespeares; Executive Director, Arts & Ideas Series, The Aspen Institute Stephen J. Adler , Editor-in-Chief, BusinessWeek Pamela A. Aguilar , Producer, Documentary Filmmaker; After Brown , Shut Up and Sing Madeleine K. Albright , founder, The Albright Group, LLC; former US Secretary of State; Trustee, The Aspen Institute T. Alexander Aleinikoff , Professor of Law and Dean, Georgetown University Law Center Elizabeth Alexander , Poet; Professor and Chair, African American Studies Department, Yale University Yousef Al Otaiba , United Arab Emirates Ambassador to the United States Kurt Andersen , Writer, Broadcaster, Editor; Host and Co-Creator, Public Radio International’s “Studio 360” Paula S. Apsell , Senior Executive Producer, PBS’s “NOVA” Anders Åslund , Senior Fellow, Peter G. Peterson Institute for International Economics Byron Auguste , Senior Partner, Worldwide Managing Director, Social Sector Office, McKinsey & Company Dean Baker , Co-Director, Center for Economic and Policy Research; Columnist, The Guardian ; Blogger, “Beat the Press,” The American Prospect James A. Baker III , Senior Partner, Baker Botts, LLP; former US Secretary of State Bharat Balasubramanian , Vice President, Group Research and Advanced Engineering; Product Innovations & Process Technologies, Daimler AG Jack M. Balkin , Knight Professor of Constitutional -
Another Darwinian Aesthetics
This is a repository copy of Another Darwinian Aesthetics. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/103826/ Version: Accepted Version Article: Wilson, Catherine orcid.org/0000-0002-0760-4072 (2016) Another Darwinian Aesthetics. Journal of aesthetics and art criticism. pp. 237-252. ISSN 0021-8529 https://doi.org/10.1111/jaac.12283 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Another Darwinian Aesthetics (Last ms version). Published Version: WILSON, CATHERINE. "Another Darwinian Aesthetics." The Journal of Aesthetics and Art Criticism 74.3 (2016): 237-252. Despite the bright sun, dew was still dripping from the chrysanthemums in the garden. On the bamboo fences, and criss-cross hedges, I saw tatters of spiderwebs; and where the threads were broken the raindrops hung on them like strings of white pearls. I was greatly moved and delighted. …Later I described to people how beautiful it all was. -
Read Book the Art Instinct: Beauty, Pleasure, and Human Evolution
THE ART INSTINCT: BEAUTY, PLEASURE, AND HUMAN EVOLUTION PDF, EPUB, EBOOK Denis Dutton | 304 pages | 27 May 2010 | Oxford University Press | 9780199580736 | English | Oxford, United Kingdom The Art Instinct: Beauty, Pleasure, and Human Evolution by Denis Dutton It's the best, most comprehensive book on the psychology of art and I've read them all. It stands alone--it makes sense if you haven't read anything of the psychology or philosophy of art. Jun 13, James Earle rated it really liked it. It's arrogant and cliche at times, but overall good. Oct 22, Taylor Prewitt rated it really liked it. Really thought-provoking, gets the gears turning about the place of art in our lives as physiological beings. Especially liked the parts about fiction. Jan 04, Jessica rated it liked it Shelves: art , evolution. The most popular favorite color in the world is blue Sep 25, Simone rated it it was ok Shelves: art , art-analysis , biology , evolution. While Dutton's theories are interesting, I find he relies to often on singular sources of knowledge, specifically Steven Pinker. Dutton also takes a significantly long-winded approach to his explan While Dutton's theories are interesting, I find he relies to often on singular sources of knowledge, specifically Steven Pinker. Dutton also takes a significantly long-winded approach to his explanations. I did not always find his explanations or examples on target, and they were often unnecessarily repetitive, rather than adding new information. Therefore, once Dutton had come back to his point I was left wanting more sources and examples to back up the theory. -
Stardom: Industry of Desire 1
STARDOM What makes a star? Why do we have stars? Do we want or need them? Newspapers, magazines, TV chat shows, record sleeves—all display a proliferation of film star images. In the past, we have tended to see stars as cogs in a mass entertainment industry selling desires and ideologies. But since the 1970s, new approaches have explored the active role of the star in producing meanings, pleasures and identities for a diversity of audiences. Stardom brings together some of the best recent writing which represents these new approaches. Drawn from film history, sociology, textual analysis, audience research, psychoanalysis and cultural politics, the essays raise important questions for the politics of representation, the impact of stars on society and the cultural limitations and possibilities of stars. STARDOM Industry of Desire Edited by Christine Gledhill LONDON AND NEW YORK First published 1991 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge a division of Routledge, Chapman and Hall, Inc. 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” © 1991 editorial matter, Christine Gledhill; individual articles © respective contributors All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. -
Dutton, Davies, and Imaginative Virtual Worlds: the Current State Of
rivista on-line del Seminario Permanente di Estetica anno VI, numero 2 Dutton, Davies, and Imaginative Virtual Worlds The Current State of Evolutionary Aesthetics Joseph Carroll Introduction Stephen Davies and the late Denis Dutton are both professional philosophers of aesthet- ics. They both have spent a good deal of time acquiring information about current re- search in the evolutionary social sciences. They both have read widely in Darwinian lit- erary theory and are knowledgeable about the less voluminous work in evolutionary aesthetics. Their topics thus necessarily overlap, but their books have different purposes and a different feel. Davies’s book is an academic exercise. He has no real arguments or claims of his own. He merely examines contributions by others, analyzes them with the purpose of poking holes in substantive formulations, and suspends himself comfortably in tepid skepticism. Dutton wishes to demonstrate that evolutionary psychology can provide a satisfying naturalistic explanation of aesthetic experience, rescue aesthetics from the preciosity of postmodernism, and allow aesthetic philosophers to affirm com- mon experience while also integrating humanities with biology and the social sciences. Neither Davies nor Dutton fully succeeds in his ambition. Davies extends his skepti- cism well beyond a sensible account of the state of current knowledge about human evolution, and his eagerness to reach no conclusions leads him into equivocations and self-contradictions that undermine his credibility. Dutton fails to recognize underlying theoretical differences in his three main sources of theoretical inspiration: (1) the «or- thodox» or «narrow-school» evolutionary psychology founded by Tooby and Cosmides and popularized by Steven Pinker; (2) the sexual selectionist notions of Geoffrey Miller; and (3) the theory of imaginative virtual worlds propounded by Edward O. -
Against Literary Darwinism
Against Literary Darwinism Jonathan Kramnick Literary Darwinists integrate literary concepts with a modern evolutionary understanding of the evolved and adapted characteristics of human nature. They aim not just at being one more “school” or movement in literary theory. They aim at fundamentally transforming the framework for all literary study. They think that all knowledge about human behavior, including the products of the human imagination, can and should be subsumed within the evolutionary perspective. —JOSEPH CARROLL, “What Is Literary Darwinism?” What is undeniable is that theories of human behavior must be consistent with the fact of evolution; so too must they be consistent with the fact that the human body is made of matter. However, it does not follow from this that either evolutionary biology or physics can tell us anything interesting about human behavior. —ELLIOTT SOBER, Philosophy of Biology Darwinian literary criticism has a strange place in the current intellec- tual scene. Only a short while ago, evolutionary perspectives on art and literature were scarce and exotic. In the past few years, studies connecting literary texts to processes of natural and sexual selection have come forth in handsome volumes from the major trade and university presses and have received a fascinated response from magazines, newspapers, and even tele- vision.1 Arguably no movement in literary studies has attracted so much 1. Academic year 2008–2009 was something of a watershed moment for literary Darwinism, marked by the twin publication of Denis Dutton, The Art Instinct: Beauty, Pleasure, and Human Evolution (New York, 2009), hereafter abbreviated AI; and Brian Boyd, On the Origin of Stories: Evolution, Cognition, and Fiction (Cambridge, Mass., 2009); hereafter abbreviated OS. -
Steven Pinker
34 35 Steven Pinker ART BECAUSE WE CAN Art is a biological puzzle, because it drains time and resources that might other- wise be used to promote an individual’s fitness. Unfortunately, the evolution of aesthetics in art is not an advanced area of psychological science: at present there are more ideas about the possible adaptive origins of art than there are data verifying them. Complicating the topic is the fact that there are people who are hostile to the idea that any human behaviour could ever be shown to be an evolved adaptation, and people who write as if all behaviour must be adaptive but do not apply scientific rigour to their argument. Why does art appear to be a human universal? Could it be a biological adaptation whose function we have failed to notice? I argue otherwise: that art is a by-product of other adaptations rather than being an adaptation itself. If not 100 per cent universal, then art certainly is extraordinarily widespread, and has characteristic features across diverse cultures. The late Denis Dutton, author of The Art Instinct, usefully listed a number of criteria by which art can be identified: Art is not practical, like a tool or a house. It requires the exercise of specialised skill. It is considered to be a source of pleasure. Art is made in recognisable styles. There are rules that form the composition of artworks. Art is judged and appreciated. At least in part, it represents or imitates some experience of the world. The pleasure that it causes is intended by the artist, rather than being an accident. -
Pornographic Film and Video: Gay Male by Joe A
Pornographic Film and Video: Gay Male by Joe A. Thomas Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Pornographic film and video have played an important role in gay male culture. Whereas heterosexual pornography has been accompanied by a serious stigma in the "straight" world, gay pornography has been characterized partly by the high esteem in which it is held in the gay male subculture. As a group that is both defined by its sexual activity and rejected by the majority culture for it, gay men have often seen in pornography an all-too-rare positive image of gay sexuality. Similarly, they have found in the exaggerated sexuality and marginal artistry of porn a campy rejection of the hierarchies of the heterosexual majority. As with straight pornography, gay male pornography can be divided into two categories, hardcore and softcore. Hardcore is the genre commonly associated with the term pornography. It includes explicit imagery of actual sexual activity to the point of climax, including visible penetration and ejaculation. Softcore is a less explicit alternative, generally focusing on nude or nearly nude bodies in sexual or sensual situations, but without views of penetration or visible climax. The sex is nearly always simulated in softcore, and it is often filmed with an emphasis on romance or mood. As porn diva Gloria Leonard once humorously proclaimed, "The difference between pornography and erotica is lighting." Because both the production and consumption of pornographic film and video are dependent on relatively high levels of technology, the genre's development has taken place primarily in the industrialized West. -
Royal Anthropological Institute Or Royal Academy? Post-Modern Anthropology As Contemporary Art
Antrocom Online Journal of Anthropology 2011, vol. 7. n. 1 E. Dutton – Royal Anthrop. Institute or Royal Academy? Cultural Anthropology 27 - 40 Royal Anthropological Institute or Royal Academy? Post-Modern Anthropology as Contemporary Art Edward Dutton Abstract It has been widely argued that postmodern and cultural relativism are replacement religions in Romantic, neo-tribal tradition (e.g. Scruton 2000, Kuznar 1997) This article attempts to better understand the nature of postmodern anthropology by looking at it through the prism of Art. Following Scruton (2000), it argues that, since the Enlightenment, Art has performed a similar function to Christianity in many people’s lives and is accordingly a form of replacement religion. The article demonstrates that while modern forms of anthropology might be deemed ‘religious,’ the cultural relativist anthropology of Margaret Mead appears to be art whereas this is less clear with postmodern anthropology. The article argues that the boundaries between postmodern (or ‘contemporary’) anthropology and visual ‘Contemporary Art’ are essentially weak and that postmodern anthropology is usefully understood as exemplifying contemporary art. Accordingly, it has no place in scholarly discourse. It is a replacement religion by virtue of its artistic nature. Introduction The postmodern style in anthropology has been examined in relation to a number of conceptual frameworks. Roger Scruton (2000, 141) has compared it to magical incantations and spells writing that, “Deconstruction is neither a method nor an argument. It should be understood on the model of magical incantation. Incantations are not arguments and avoid complete thoughts and finished sentences. Their purpose is not to describe what is there but to summon what is there” 1. -
Biology, Aesthetics, Pragmatism
Contemporary Pragmatism Editions Rodopi Vol. 7, No. 2 (December 2010), 155–188 © 2010 Evolution and Explanation: Biology, Aesthetics, Pragmatism Robert Chodat Recent discussion of the arts has grown increasingly sympathetic to evolutionary psychology, a trend vividly captured in Denis Dutton’s recent book The Art Instinct. Yet evolutionary psychologists have paid startlingly little attention to pragmatism, despite the fact that pragmatists also work in Darwin’s wake and often interrogate the “two cultures” divide. An extended comparison of pragmatist and evolutionary aesthetics can help us recognize the more layered notion of “nature” running through pragmatism, and help us articulate what matters most for us in the understanding of literary and other aesthetic phenomena. 1. Just How Many Cultures Are There? Near the start of Richard Powers’s 1995 novel Galatea 2.2, a cognitive scientist named Philip Lentz turns to a novelist trained in literary studies and poses a blunt question: “Tell us. What passes for knowledge in your so-called discipline?” Shortly afterward, the writer meets another, less confrontational scientist who seems to know an unusual amount of information about his life as a budding young author, prompting the novelist to ask: “Where the hell is the Two Cultures split when you need it?”1 In context, both questions are clearly meant as jokes. But they haunt the whole of Powers’s novel, which tracks Lentz’s self-described “reductionist” effort to prove that consciousness “is a deception,” “a glorified, fudged-up Turing machine.” And indeed, these questions about “so-called knowledge” and “the Two Cultures split” haunt not only Powers’s novel, but very broadly speaking much of the literature and criticism of the last two hundred years. -
The Origin of Science by Louis Liebenberg
The Origin of Science The Evolutionary Roots of Scientific Reasoning and its Implications for Tracking Science Second Edition Louis Liebenberg Cape Town, South Africa www.cybertracker.org 2021 2 Endorsements “This is an extraordinary book. Louis Liebenberg, our intrepid and erudite guide, gives us a fascinating view of a people and a way of life that have much to say about who we are, but which soon will vanish forever. His data are precious, his stories are gripping, and his theory is a major insight into the nature and origins of scientific thinking, and thus of what makes us unique as a species.” Steven Pinker, Harvard College Professor of Psychology, Harvard University, and author of How the Mind Works and Rationality. “Louis Liebenberg’s argument about the evolution of scientific thinking is highly original and deeply important.” Daniel E. Lieberman, Professor of Human Evolutionary Biology at Harvard University, and author of The Story of the Human Body and Exercised. “Although many theories of human brain evolution have been offered over the years, Louis Liebenberg’s is refreshingly straightforward.” David Ludden, review in PsycCRITIQUES. “The Origin of Science is a stunningly wide-ranging, original, and important book.” Peter Carruthers, Professor of Philosophy, University of Maryland, and author of The Architecture of the Mind. “Charles Darwin and Louis Liebenberg have a lot in common. Their early research was supported financially by their parents, and both studied origins... Both risked their lives for their work.” Ian Percival, Professor of Physics and Astronomy at the University of Sussex and Queen Mary, University of London and the Dirac medal for theoretical physics. -
Pornography.Pdf
This article appeared in a journal published by Elsevier. The attached copy is furnished to the author for internal non-commercial research and education use, including for instruction at the authors institution and sharing with colleagues. Other uses, including reproduction and distribution, or selling or licensing copies, or posting to personal, institutional or third party websites are prohibited. In most cases authors are permitted to post their version of the article (e.g. in Word or Tex form) to their personal website or institutional repository. Authors requiring further information regarding Elsevier’s archiving and manuscript policies are encouraged to visit: http://www.elsevier.com/copyright Author's personal copy Aggression and Violent Behavior 14 (2009) 323–329 Contents lists available at ScienceDirect Aggression and Violent Behavior The pleasure is momentary…the expense damnable? The influence of pornography on rape and sexual assault Christopher J. Ferguson a,⁎, Richard D. Hartley b a Department of Criminal Justice, Applied Sciences and Criminal Justice, Texas A&M International University, 5201 University Boulevard, Laredo, TX 78041, United States b University of Texas San Antonio, One UTSA Circle, San Antonio, TX 78249-1644, United States article info abstract Article history: The effects of pornography, whether violent or non-violent, on sexual aggression have been debated for Received 30 March 2009 decades. The current review examines evidence about the influence of pornography on sexual aggression in Received in revised form 7 April 2009 correlational and experimental studies and in real world violent crime data. Evidence for a causal Accepted 10 April 2009 relationship between exposure to pornography and sexual aggression is slim and may, at certain times, have Available online 18 April 2009 been exaggerated by politicians, pressure groups and some social scientists.