This collection of essays on anthropological approaches to art and aesthetics is the first in its field to be published for some time. In recent years a number of new galleries of non-Western art have been opened, many exhibitions of non-Western art held, and new courses in the anthropology of art established. This collection is part of and complements these developments, contributing to the general resurgence of interest in what has been until recently a comparatively neglected field of academic study (...) and intellectual debate. Unlike many previous collections, the focus of this volume is resolutely anthropological. The contributors draw on contemporary anthropological theory and exchange, to deepen our understanding of particular aesthetic traditions in their socio-cultural and historical contexts. In addition, the cross-cultural applicability of the very concepts 'art' and 'aesthetics' is assessed. Each essay illustrates a specific approach and develops a particular argument. Many present new ethnography based on recent field research among Australian Aborigines, in New Guinea, Indonesia, Mexico, and elsewhere. Others draw on classic anthropological accounts of, for example, the Trobriand Islanders of Melanesia and the Nuer of the Southern Sudan, putting this material to new uses. Sir Raymond Firth's introductory overview of the history of the anthropological study of art makes this volume particularly useful for the non-specialist interested in learning what anthropology has to contribute to our understanding of art and aesthetics in general. With its wide geographical and cultural coverage and plentiful illustrations, many of which are in colour, Anthropology, Art, and Aesthetics will be a valuable resource for all serious students of the subject. (shrink)

Some important results about art gallery theorems are proposed, starting from Chvátal’s essay, using also polygon triangulations and orthogonal polygons.

The Dealing in the Art Galleries: How is Affecting the Contemporary Art World. The present study focuses on the different types of artist-gallery collaborations established in the contemporary art world, trying to underline the impact that such collaborations can have on the art world in general. I shall point several effects that these types of collaborations can have in relation to the art market or even in relation to the aesthetics of contemporary art. The role of private art collectors (...) is also of some importance in this equation and I shall also focus on some relevant examples of galleries or art dealers symptomatic to some of the issues discussed. (shrink)

This paper explores the role of a media art gallery within a university setting. Specifically, it examines how mahaus.gallery can contribute to the intellectual and cultural life of the university community. The paper discusses the ways in which a media art gallery can promote interdisciplinary learning and research, foster creative collaborations, and engage with the wider community beyond the university campus. Therefore, through a quantitative approach, we analyzed the role of a media arts gallery in a (...) higher education institution in stimulating entrepreneurship among communication students. The results highlight the importance of interdisciplinary collaboration and institutional support in the development of entrepreneurial skills and indicate that mahaus.gallery is an essential component of the university as it provides a space for innovation, experimentation and critical reflection on the intersection of art and technology. (shrink)

Saturn and Melancholy remains an iconic text in art history, intellectual history, and the study of culture, despite being long out of print in English. Rooted in the tradition established by Aby Warburg and the Warburg Library, this book has deeply influenced understandings of the interrelations between the humanities disciplines since its first publication in English in 1964. This new edition makes the original English text available for the first time in decades. Saturn and Melancholy offers an unparalleled inquiry into (...) the origin and development of the philosophical and medical theories on which the ancient conception of the temperaments was based and discusses their connections to astrological and religious ideas. It also traces representations of melancholy in literature and the arts up to the sixteenth century, culminating in a landmark analysis of Dürer's most famous engraving, Melencolia I. This edition features Raymond Klibansky's additional introduction and bibliographical amendments for the German edition, as well as translations of source material and 155 original illustrations. An essay on the complex publication history of this pathbreaking project - which almost did not see the light of day - covers more than eighty years, including its more recent heritage. Making new a classic book that has been out of print for over four decades, this expanded edition presents fresh insights about Saturn and Melancholy and its legacy as a precursor to modern interdisciplinary studies. (shrink)

The Warburg Institute, founded in the 1920s in Hamburg by art and cultural historian Aby Warburg, is a pioneering institution that has greatly shaped the fields of art, myth, religion, medicine, philosophy, and intellectual history. When, in 1933, the institute was moved to London to escape the Nazis, its research and legacy was protected and further developed by a network of researchers dispersed throughout the UK, the US, and Canada.

Summers of Discontent goes to the heart of the arts. It's an examination of why artists create them in the first place and why we all feel the need for them. Tallis thinks the arts spring from our inability as humans fully to experience our experiences; from our hunger for a more rounded, more complete sense of the world. Tallis's thesis is original and fresh, down-to-earth and life-enhancing. It will inspire anyone who feels the creative urge today, or anyone who (...) wants to understand why and how the arts enrich their lives and those of others. (shrink)

Philosophers-professionals and the armchair variety-are given to defending comprehensive world views. Raymond Geuss, one of the most celebrated thinkers of our time, dispenses with this ambition for intellectual unity. Ranging across the history of art and ideas, Geuss argues for flexibility, doubt, and the accommodation of unresolved complexity.

Drawing from the study of human reasoning, Argumentation describes different types of arguments and explains how they influence beliefs and behaviour. Raymond Nickerson identifies many of the fallacies, biases, and other flaws often found in arguments as well as 'stratagems' that people regularly use to persuade others. Much attention is given to the evaluation of arguments. Readers will learn a new schematic for evaluating arguments based on cognitive science. As a source for understanding and evaluating arguments in decision-making, it (...) is ideal for courses on cognition, reasoning, and psychology. (shrink)

Selected, expanded, refereed papers from the first international RLA Conference, University of Sydney/ACU, 1994.

Outside Ethics brings together some of the most important and provocative works by one of the most creative philosophers writing today. Seeking to expand the scope of contemporary moral and political philosophy, Raymond Geuss here presents essays bound by a shared skepticism about a particular way of thinking about what is important in human life--a way of thinking that, in his view, is characteristic of contemporary Western societies and isolates three broad categories of things as important: subjective individual preferences, (...) knowledge, and restrictions on actions that affect other people. He sets these categories in a wider context and explores various human phenomena--including poetry, art, religion, and certain kinds of history and social criticism--that do not fit easily into these categories. As its title suggests, this book seeks a place outside conventional ethics.Following a brief introduction, Geuss sets out his main concerns with a focus on ethics and politics. He then expands these themes by discussing freedom, virtue, the good life, and happiness. Next he examines Theodor Adorno's views on the relation between suffering and knowledge, the nature of religion, and the role of history in giving us critical distances from existing identities. From here he moves to aesthetic concerns. The volume closes by looking at what it is for a human life to have "gaps"--to be incomplete, radically unsatisfactory, or a failure. (shrink)

We live in a time when museum curators and gallery directors in the English-speaking world have to a distressing degree lost faith in the power of their own collections. Cowed by accusations of elitism, intimidated by nonsense academic art theory, worndown by guilt-inducing postcolonial victimology, they succumb to pressures either on the one hand to dumb down their presentations, or on the other hand to politicise them.

This text aims to provide a contribution to the analysis of beliefs and, through the elaboration of the notion of good reasons, to make a significant contribution to the theory of rationality. It examines the main theories that have been used in the social sciences and psychology for the explanation of beliefs. The author develops a particular model which enables him to show that people often have good reasons to believe in false ideas. The central idea of this model is (...) that people often draw controversial conclusions from valid arguments because they introduce implicit statements which they do not perceive, since they treat them - with good reasons - as self-evident. Hence they can hold doubtful, or even false, conclusions and regard them as solidly grounded. Boudon shows that this model can be used to reinterpret many findings from the sociology of religion and the sociology of knowledge, as well as from cognitive psychology. (shrink)

The task of finding art in the world is presented as a tale of three dynamic forces that have shaped art in recent times. The first is expansion of the domain of art. This is reflected in linguistic change. The term "art" has grown enormously in sense and extension. The second force is the public's subjective response to art writ large. Our commercial culture compels reaction. The third force is the art world's active promotion of the expansion of art's domain (...) and the contextualization of the public's subjective response to it. The aspiration of the paper is to bring some clarity to how we presently identify art, respond to it, understand it, and institutionalize it. The tale concludes with discussion of the future of art in the world today. (shrink)

The question of whether the term ”art,” or art as an array of objects, can be defined depends upon the sense of “art” and its extension. The generic sense of “art” is its broadest meaning having its widest extension. I argue that the term is very much like the generic term “science.” Uses of both terms don’t depend upon rigorous definition. Rather, the terms organize an enormous number of varied and sometimes incompatible sub-categories. Most informative topics in art and science (...) are under these sub-categories. As dynamic areas of activity, art and science continue to evolve without an efficacious generic sense. We can dispense with it for these purposes. (shrink)

Treats religion as a human art, capable of great intellectual and artistic achievements.Religion: A Humanist Interpretation represents a lifetime's work on the anthropology of religion from a rather unusual personal viewpoint. Raymond Firth treats religion as a human art, capable of great intellectual and artistic achievements, but also of complex manipulation to serve the human interests of those who believe in it and operate it. His study is comparative, drawing material from a range of religions around the world. Its (...) findings are a challenge to established beliefs.This anthropological approach to the study of religion covers themes ranging from; religious belief and personal adjustment; gods and God; offering and sacrifice;religion and politics; Malay magic and spirit mediumship; truth and paradox in religion. (shrink)

In a devastating critique Raymond Tallis exposes the exaggerated claims made for the ability of neuroscience and evolutionary theory to explain human consciousness, behaviour, culture and society. While readily acknowledging the astounding progress neuroscience has made in helping us understand how the brain works, Tallis directs his guns at neuroscience’s dark companion – "Neuromania" as he describes it – the belief that brain activity is not merely a necessary but a sufficient condition for human consciousness and that consequently our (...) everyday behaviour can be entirely understood in neural terms. With the formidable acuity and precision of both clinician and philosopher, Tallis dismantles the idea that "we are our brains", which has given rise to a plethora of neuro-prefixed pseudo-disciplines laying claim to explain everything from art and literature to criminality and religious belief, and shows it to be confused and fallacious, and an abuse of the prestige of science, one that sidesteps a whole range of mind–body problems. The belief that human beings can be understood essentially in biological terms is a serious obstacle, argues Tallis, to clear thinking about what human beings are and what they might become. To explain everyday behaviour in Darwinian terms and to identify human consciousness with the activity of the evolved brain denies human uniqueness, and by minimising the differences between us and our nearest animal kin, misrepresents what we are, offering a grotesquely simplified and degrading account of humanity. We are, shows Tallis, infinitely more interesting and complex than we appear in the mirror of biologism. Combative, fearless and always thought-provoking, _Aping Mankind _is an important book, one that scientists, cultural commentators and policy-makers cannot ignore. (shrink)

The era of Big Data comes with the omnipresent metaphor of the Cloud, a term suggesting an ephemeral and seemingly endless storage space, unhindered by time and place. Similar to the satellite image of the Whole Earth, which was the icon of technological progress in the late 60s, the Cloud as a metaphor breathes the promise of technology, whilst obfuscating the hardware reality of server farms and software infrastructure necessary to enable the proliferation of data. This article presents projects from (...) the fields of humanities, social sciences and the arts that formulate a response to Big Data and its human and automated practices, from data analytics dashboards to critical reflections on smart technologies and objects. (shrink)

This article documents experiences of Glasgow Improvisers Orchestra’s virtual, synchronous improvisation sessions during COVID-19 pandemic via interviews with 29 participants. Sessions included an international, gender balanced, and cross generational group of over 70 musicians all of whom were living under conditions of social distancing. All sessions were recorded using Zoom software. After 3 months of twice weekly improvisation sessions, 29 interviews with participants were undertaken, recorded, transcribed, and analyzed. Key themes include how the sessions provided opportunities for artistic development, enhanced (...) mood, reduced feelings of isolation, and sustained and developed community. Particular attention is placed upon how improvisation as a universal, real time, social, and collaborative process facilitates interaction, allowing the technological affordances of software (latencies, sound quality, and gallery/speaker view) and hardware (laptop, tablet, instruments, microphones, headphones, and objects in room) to become emergent properties of artistic collaborations. The extent to which this process affects new perceptual and conceptual breakthroughs for practitioners is discussed as is the crucial and innovative relationship between audio and visual elements. Analysis of edited films of the sessions highlight artistic and theoretical and conceptual issues discussed. Emphasis is given to how the domestic environment merges with technologies to createThe Theatre of Home. (shrink)

This chapter contains sections titled: Dante's Mission The Journey Begins Vestibule (Ante‐Hell): The Indecisive Neutrals Upper Hell: Sins of Unrestrained Desire (the Wolf) River Styx, Walls of the City of Dis Lower Hell: Sins of Malice Leading to Violence (the Lion) Lower Hell: Sins of Malice Leading to Fraud (the Leopard) Dante's Existential Lessons in Hell.

Traditionally galleries and museums were one-dimensional, visually.These curators, critics, artists and gallerists developed multi-sensory art galleries, involving all senses. as well as living installations such as bees producing honey their books published. This is far beyond traditional installations and exhibitions. Night tours by torchlight, education, accommodation, therapy, participation, exploration, local community involvement and more are available.

D. T. Lee and A. K. Lin [2] proved that VERTEX-GUARDING and POINT-GUARDING are NP-hard for simple polygons. We prove that those problems are NP-hard for ortho-polygons, too.

This article presents Epistemic Spatialization as a new framework for investigating the interconnected patterns of biases when identifying objects with convolutional neural networks (convnets). It draws upon Foucault’s notion of spatialized knowledge to guide its method of enquiry. We argue that decisions involved in the creation of algorithms, alongside the labeling, ordering, presentation, and commercial prioritization of objects, together create a distorted “nomination of the visible”: they harden the visibility of some objects, make other objects excessively visible, and consign yet (...) others to permanent or haphazard invisibility. Our approach differs from those who focus on high-stakes misidentifications, such as errors tied to structural racism. Examining the far more dominant series of low-stakes mistakes shows the scope of errors, destabilizing the goal of image content identification with considerable societal impact. We explore these issues by closely examining the demonstration video of a popular convnet. This examination reveals an interlocking series of biases undermining the content identification process. The picture we paint is crucial for a better understanding of the errors that result as these convnets become further embedded in everyday products. The framework is valuable for critical work on computer vision, AI studies, and large-scale visual analysis. (shrink)

The frontal feedback model argues that the sudden appearance of art and advancing technologies around 40,000 years ago in the hominid archaeological record was the end result of a recent fundamental change in the functional properties of the hominid brain, which occurred late in that brain's evolution. This change was marked by the switching of the driving mechanism behind the global, dynamic function of the brain from an "object-centered" bias, reflective of nonhuman primate and early hominid brains, to a "self-centered" (...) bias, reflective of modern Homo sapiens and perhaps late Homo erectus brains. Such a change in the global-functional properties of the brain was provided for by the progressive enlargement of the primate frontal lobe throughout its evolution. In late-developing hominids, this progressive enlargement effectively succeeded in reversing the preferred direction of information flow in the highest association areas of the neocortex from a caudo-rostral bias to a rostro-caudal bias. It was this reversal specifically that provided for the ability of humans to use symbolic thought in the creative expression of art, language, and the development of advancing technologies. Part 2 discusses the specific changes in the brain that occurred as a result of the reversal and how those changes were and are manifested as human abilities and experience. (shrink)