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Homo Aestheticus’
Conceptual Paper Glob J Arch & Anthropol Volume 11 Issue 3 - June 2020 Copyright © All rights are reserved by Shuchi Srivastava DOI: 10.19080/GJAA.2020.11.555815 Man and Artistic Expression: Emergence of ‘Homo Aestheticus’ Shuchi Srivastava* Department of Anthropology, National Post Graduate College, University of Lucknow, India Submission: May 30, 2020; Published: June 16, 2020 *Corresponding author: Shuchi Srivastava, Assistant Professor, Department of Anthropology, National Post Graduate College, An Autonomous College of University of Lucknow, Lucknow, India Abstract Man is a member of animal kingdom like all other animals but his unique feature is culture. Cultural activities involve art and artistic expressions which are the earliest methods of emotional manifestation through sign. The present paper deals with the origin of the artistic expression of the man, i.e. the emergence of ‘Homo aestheticus’ and discussed various related aspects. It is basically a conceptual paper; history of art begins with humanity. In his artistic instincts and attainments, man expressed his vigour, his ability to establish a gainful and optimistictherefore, mainlyrelationship the secondary with his environmentsources of data to humanizehave been nature. used for Their the behaviorsstudy. Overall as artists findings was reveal one of that the man selection is artistic characteristics by nature suitableand the for the progress of the human species. Evidence from extensive analysis of cave art and home art suggests that humans have also been ‘Homo aestheticus’ since their origins. Keywords: Man; Art; Artistic expression; Homo aestheticus; Prehistoric art; Palaeolithic art; Cave art; Home art Introduction ‘Sahityasangeetkalavihinah, Sakshatpashuh Maybe it was the time when some African apelike creatures to 7 million years ago, the first human ancestors were appeared. -
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International Journal of Art and Art History December 2014, Vol. 2, No. 2, pp. 35-65 ISSN: 2374-2321 (Print), 2374-233X (Online) Copyright © The Author(s). 2014. All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijaah.v2n2a2 URL: http://dx.doi.org/10.15640/ijaah.v2n2a2 A Historiographical Discussion on the Origins of Visual Art Aaron Lawler1 Abstract The purpose of this research is to identify a correlation between biological (materialist) origins and adaptations to the creation and appreciation of art, specifically through the development of the aesthetic sense. Most research in the historiography of art and the origins of visual art, come from a purely philosophical tradition. Here, the focus is on scientific historiography in conjunction with philosophy, as a lens for understanding evolutionary biological adaptation. Premise This discourse, concerning the origins of the fine arts (and more specifically the visual arts), is explored through Darwinian evolution and inherited traits. Using a primarily materialist philosophical ontology, and a scientific epistemology, I hope to explain art history from a biological historiography. In this discourse, I will not propose a sole hereditary origin for the visual arts, but allow for a view that is also not solely anthropologically and/or sociologically driven. In other words, the creation and study of the visual arts, need not be originated in only as a social construct or cultural product, but might also be a genetically, materially originated function of the human as a material entity. 1Senior Lecturer and Adjunct Faculty Mentor, Moser College - Benedictine University, USA. Phone: 630-220-9565 36 International Journal of Art and Art History, Vol. -
Chapter 1: Fifty Years of Fun with Fossils: Some Cave Taphonomy
stone age institute publication series Series Editors Kathy Schick and Nicholas Toth Stone Age Institute Gosport, Indiana and Indiana University, Bloomington, Indiana Number 1. THE OLDOWAN: Case Studies into the Earliest Stone Age Nicholas Toth and Kathy Schick, editors Number 2. BREATHING LIFE INTO FOSSILS: Taphonomic Studies in Honor of C.K. (Bob) Brain Travis Rayne Pickering, Kathy Schick, and Nicholas Toth, editors Number 3. THE CUTTING EDGE: New Approaches to the Archaeology of Human Origins Kathy Schick, and Nicholas Toth, editors Number 4. THE HUMAN BRAIN EVOLVING: Paleoneurological Studies in Honor of Ralph L. Holloway Douglas Broadfield, Michael Yuan, Kathy Schick and Nicholas Toth, editors STONE AGE INSTITUTE PUBLICATION SERIES NUMBER 2 Series Editors Kathy Schick and Nicholas Toth breathing life into fossils: Taphonomic Studies in Honor of C.K. (Bob) Brain Editors Travis Rayne Pickering University of Wisconsin, Madison Kathy Schick Indiana University Nicholas Toth Indiana University Stone Age Institute Press · www.stoneageinstitute.org 1392 W. Dittemore Road · Gosport, IN 47433 COVER CAPTIONS AND CREDITS. Front cover, clockwise from top left. Top left: Artist’s reconstruction of the depositional context of Swartkrans Cave, South Africa, with a leopard consuming a hominid carcass in a tree outside the cave: bones would subsequently wash into the cave and be incorporated in the breccia deposits. © 1985 Jay H. Matternes. Top right: The Swartkrans cave deposits in South Africa, where excavations have yielded many hominids and other animal fossils. ©1985 David L. Brill. Bottom right: Reconstruction of a hominid being carried by a leopard. © 1985 Jay H. Matternes. Bottom left: Photograph of a leopard mandible and the skull cap of a hominid from Swartkrans, with the leopard’s canines juxtaposed with puncture marks likely produced by a leopard carrying its hominid prey. -
Conflicting Evolutionary Pressures on Human Cognition: a Case Study of Autism
Conflicting Evolutionary Pressures on Human Cognition: A Case Study of Autism Callum Scott MA by Research University of York Archaeology December 2017 2 Abstract The current dominant view is that the evolutionary pressures leading to our large brain sizes were predominantly social. This study investigates the effects of both technical and social pressures on our cognitive evolution, to determine whether the pressures were more complex than social theories allow. This is assessed both between hominin species and within our species. Between species effects are determined by evaluating the evolution of human cognition in 4 stages. Archaeological evidence of behaviour and changes in brain structure are presented for each stage. This allows specializations to be identified, and permits us to suggest whether specialization in each species was in response to social pressures, or a more complex pattern of both technical and social pressures. The results of this evaluation support a more complex pattern of evolutionary pressures. Within species effects are assessed, using Autism Spectrum Condition (ASC) as an example of an alternate, more technically focused, adaptive strategy. This condition accentuates technical behavioural traits which would be advantageous to a Palaeolithic population. The genetics of the condition show that it is highly heritable, was likely present prior to 200ka, and under positive selection. Thus, these technical traits must have had an impact on past populations. A survey is conducted to assess whether characteristics and components of autism would influence individual’s engagement with material culture, in particular art. It found that the technical trait, high attention to detail, was associated with experience of art and susceptibility to pareidolic illusions. -
Blood, Urine, Ochre and Sap: Living with the Saving Power
f usio n-jo urnal.co m http://www.fusion-journal.com/issue/002-fusion-the-limits-of-virtuality/blood-urine-ochre-and-sap-living-with-the-saving- power/ Blood, Urine, Ochre and Sap: living with the saving power Author: Dr Bruce Fell, Charles Sturt University, Australia Blood, urine, ochre and sap having been heated or cooled, stretched or compressed — or simply laid bare — was mixed and fixed to rock, wood and fibre. Having been scraped or brushed, chiselled or smoothed, sown or scribed, meaning became entwined with body and other. This melding, that had no precedent and has no foreseeable end, has become our reality. It is the cloth that awaits our birth and the shroud that lays us down. (Fell 2011) From pre-history cave art through the shadow puppetry of 300 BCE and onto motion pictures and digital convergence commentators have philosophised about the relationship between the screen and decision- making. Our entwinement with the screen, f rom Plato’s Allegory of the Cave, to a plethora of postulating in the wake of f MRI scanning, speaks of a complex interaction between humanity and the screen. Drawing on the critical social stance of social ecology the paper argues f or a reappraisal of the role of the contemporary screen in an age of social and ecological degradation. Atop our spine sits a large brain that houses a very big visual cortex. Arguably, combined with our dexterity and bipedal stance, such a combination makes us what we are — none of which happened overnight. Day in and day out humanity’s entwinement with the screen has been and remains central to how our big brain perceives the world. -
Where Does the History of Art Begin?
ISSN: 2687-8402 DOI: 10.33552/OAJAA.2019.01.000519 Open Access Journal of Archaeology and Anthropology Short Communication Copyright © All rights are reserved by Gay Sweely Where Does the History of Art Begin? Gay Sweely* Department of Art & Design, Eastern Kentucky University, Richmond, KY, USA *Corresponding author: Received Date: September 27, 2019 Gay Sweely, Department of Art & Design, Eastern Kentucky Published Date: October 10, 2019 University, Richmond, KY, USA. Short Communication page, under the heading “The Earliest Art,” fig. 16-2 shows the Who created the first art? Why was art ever created? What does “Woman (formerly a.k.a. the Venus of Willendorf), Lower Austria, art do? And, what is the definition of art? These questions have ca. 25,000-20,000 BCE” [5]. And, lastly, my beloved textbook from plagued me throughout my teaching art history for the past 39 my college days, Janson HW [6], begins the first chapter with “The years in three countries. Many of my university art history courses Old Stone Age,” followed by the secondary heading of “Cave Art.” are populated with art majors. This past semester, not one student The first image in this chapter on “Magic and Ritual—The Art of could tell me what art is, although they are majoring in the subject Prehistoric Man,” begins with “Wounded Bison (cave painting), and will receive a degree in “art.” c.15,000-10,000 B.C” [6].The author’s statement that introduces Other than teaching courses in Art Appreciation, the History this artwork states that “It is during the last stage of the Paleolithic, of Graphic Arts, and American (U.S.) art history, I generally teach which began about 35,000 years ago, that we meet the earliest courses in Non-Western art history, meaning art history that is works of art known to us” [7]. -
Homo Sapiens; Homo Neanderthalis + Homo Sapiens Sapiens
Two Million Years of Art in Human Evolution AH 224 Paleolithic Art, Spring 2012 James Harrod, Ph.D. Adjunct Instructor in Art History, Maine College of Art, Portland, Maine Director, Center for Research on the Origins of Art and Religion originsnet.org (pleistocenecoalition.com) The Purpose of this Course 1. To gain openness and wonder toward, and appreciation of, this long 2 million year lineage of art-making. 2. To get a feeling for this art and how it reverberates in your own psychic depths, your own creative impulse to art-making, and aspirations. 3. To master some of the basic nomenclature, theory, and information used in the study of Palaeoart. 4. To practice applying critical approaches to analyze Stone Age symbolic behavior and resonances in historic and contemporary art and your own creative process. “Emancipate yourselves from mental slavery; None but ourselves can free our minds.” Bob Marley, ‘Redemption Song’, Uprising – from speech, Marcus Garvey, Nova Scotia, 1937 Dedicaton To te spirit of Marija Gimbutas (1921-1994) … for her brilliant intellect, warm-hearted generosity and a passionate originality and vision. The greatest teaching is by example. In this case, Marija demanded the highest standards of scholarship from herself as well as from her students. Moreover, she had the courage to speak from her own perceptions and to expand the traditional boundaries of her discipline. As Indo- Europeanist Edgar Polomé wrote in her 1987 festschrift, "There are no words to describe the profoundness of the feelings that link this great scholar to her disciples and this great woman to her numerous friends and admirers." Joan Marler, Pacifica Opus Archives Marija Gimbutas, Newgrange, 1989 Michael Everson, WIkicommons ”Then too, the pebble is stone precisely at the stage when it becomes a person, an individual—in other words, the stage of speech.” Francis Ponge, ‘The Pebble’ transl. -
The Earliest Evidence of Palaeoart
Rock Art Research 2003 - Volume 20, Number 2, pp. 89-135. R. G. BEDNARIK 89 KEYWORDS: Pleistocene – Palaeoart – Symbolism – Rock art – Portable art – Art origins THE EARLIEST EVIDENCE OF PALAEOART Robert G. Bednarik Abstract. A comprehensive review of evidence of very early palaeoart covering all continents reveals significant misconceptions in the dominant models of ‘art’ origins. The traditional preoccupation with predominantly zoomorphic, figurative traditions of south-western Europe is examined, as well as the closely related concept of an endemic cave art of the Upper Palaeolithic period. The existence of much earlier non-utilitarian traditions is demonstrated, including bead making and pigment use in the Lower Palaeolithic, and the widespread uniformity of Middle Palaeolithic palaeoart traditions is noted. The review of this global Pleistocene evidence suggests that the oldest and symbolically most sophisticated palaeoart is that of Asia rather than Europe. Introduction or technologies that seem to have required certain mini- The question of the beginnings of art have long been mum mental or cognitive capacities (e.g. seafaring). Of par- recognised as being crucial to our understanding of the ticular importance, however, are beads and pendants: not origins of human language, human consciousness, human only does their skilled production require sophisticated culture, as well as the eventual development of modern techniques, and their use the availability of cordage and human cognition. More importantly still, that question is knotting (both of which are also required for seafaring), thought to be intimately related to the formulation of past beads are a form of symbolic artefact that can only assume and present human concepts of reality. -
Joonas Hyvönen PASSIM & Makapan Valley
Joonas Hyvönen PASSIM & Makapan Valley Joonas Hyvönen Passim & Makapan Valley - Master of Fine Arts thesis project, written component Supervisors: James Prevett Vesa-Pekka Rannikko Examinors: Ahmet Öğüt Jenna Sutela 1. PASSIM (here and there, Latin) The brief span of an individual life is misleading. Each one of us is as old as the entire biological kingdom, and our blood- streams are tributaries of the great sea of its total memory. The uterine odyssey of the growing foetus recapitulates the entire evolutionary past, and its central nervous system is a coded time scale, each nexus of neurones and each spinal lev- el marking a symbolic station, a unit of neuronic time.1 J.G. Ballard The Drowned World The Drowned World is a book by J.G. Ballard in which time seems to have done a trick on nature and turned back to- wards the Jurassic era, leading to a radically warming cli- mate and jungle-like flora sprouting up everywhere. In this Drowned World the humans still inhabiting it are driven to es- cape into a diminishing habitat in the Northern Hemisphere. It is a strange world, but stranger still, it’s not really a world, but rather something creeping on the skins of and within the humans embedded in it, leaving psychological effects from prehistory on their conscious. It seems like a work of fiction 1 Ballard 1983, 45 1 concerned with ideas more commonly found in object ori- ented ontology. PASSIM, as well, is a story of a subject immersed in an envi- ronment (though I will soon explain why it’s not really an en- vironment, at least not JUST an environment), this one just happens to be an environment of fanvideos, Russian fails, music videos, sports events and beheadings: YouTube.