In this paper we argue that sensory exploitation, a model from sexual selection theory, deserves more attention in evolutionary thinking about art than it has up until now. We base our argument on the observation that in the past sensory exploitation may have been underestimated in sexual selection theory but that it is now winning field. Likewise, we expect sensory exploitation can play a more substantial role in modeling the evolution of art behavior. Darwin's theory of sexual selection provides (...) a mechanistic basis to explain the evolution of male display traits. This mechanistic approach has proven useful to developing hypotheses about the evolution of human art. Both Boyd and Richerson (1985) and Miller (1998, 1999, 2000, 2001) have applied an indirect-benefit model from sexual selection to the evolution of art behavior. We argue that the mechanistic possibilities sensory exploitation has to offer as a model have remained underexplored so far, so we propose a concept based upon it. From the sensory exploitation perspective it follows that exaptive exploitation of psychosensory biases is a primary force in the evolution of art production (notice that the use of a model from sexual selection does not imply art evolved as a sexual display - we only use it for its mechanism) and that the indirect-benefit model only provides secondary forces. Thus, sensory exploitation may operate alone under some conditions but usually secondary processes as a result of indirect benefits are expected to kick in. The concept of sensory exploitation will need to play a central role in articulating all of the existing hypotheses about art. (shrink)

There is a problematique about Buddhist Art. It cannot be deduced directly from the basic tenets of ethical Buddhism. Early Buddhist views forbid art as sensuous luxury. Even when Buddhists employed art for edifying ends it was essentially representative and realistic. With the changes in Buddhist system of beliefs and the rise of Buddhist philosophical schools Buddhist art came to symbolize the ideals of tranquility and Karunā - the Mahāyāna ideals par excellence. The masterpiece of the Gupta art depicting the (...) Master in dharmacakrapravartana mudra at Sarnath or the Bodhisattva Padmapani of the Ajanta murals shows that the beauty of the Buddha image resides not in following models of worldly beauty but rather in the creation of an ideal. The medieval Buddhist art is a continuation of the achievements at Sarnath and Ajanta. (shrink)

How did the human brain evolve so that consciousness of art could develop? In The Psychology of Art and the Evolution of the Conscious Brain, Robert Solso describes how a consciousness that evolved for other purposes perceives and creates art.Drawing on his earlier book Cognition and the Visual Arts and ten years of new findings in cognitive research, Solso shows that consciousness developed gradually, with distinct components that evolved over time. One of these components is an adaptive consciousness that (...) includes the ability to imagine objects that are not present--an ability that allows us to create visual art.Solso describes the neurological, perceptual, and cognitive sequence that occurs when we view art, and the often inexpressible effect that a work of art has on us. He shows that there are two aspects to viewing art: nativistic perception--the synchronicity of eye and brain that transforms electromagnetic energy into neuro-chemical codes--which is "hard-wired" into the sensory-cognitive system; and directed perception, which incorporates personal history and knowledge--the entire set of our expectations and past experiences. Both forms of perception are part of the appreciation of art, and both are products of the evolution of the conscious brain over hundreds of thousands of years.Solso also investigates the related issues of neurological and artistic perception of the human face, the effects of visual illusions, and the use of perspective. The many works of art used as examples are drawn from a wide range of artistic traditions, from ancient Egypt to Africa and India and the European Renaissance. (shrink)

On the basis of a theoretical framework derived from grounded cognition and with reference to the available archaeological data concerning early art, this talk/article proposes an evolutionary conception of the aesthetic emotions, considered as an indispensable means that favored the emergence of the ordinary emotions in their modern version.

The Evolution of Designs tells the history of the many analogies that have been made, since the end of the eighteenth century, between the evolution of organisms and the human production of artefacts – especially buildings.

It is not good that nren should be alone. ^ - — Plekhanov Human beings are so divided, are becoming more and more divided, and more subdivided in themselves ...

This article explores the evolution of consciousness as directly correlated to hunting, gathering, tool-making and art. The methodology is qualitative theoretical analyses, articulated around Jean Gebser’s seminal work, The Ever-Present Origin. Hunting and gathering are expressions of a magical, unitary, ‘self-dissolving’ consciousness. Tool-making on the other hand is depicted as evolving from a mythical consciousness of duality, polarity, symbolism and a state of being qualified by ‘crystallisation of the I’. Lastly, art is a function of a consciousness of ‘self-transcendence’, (...) ‘I and I’, idealisation and a transpersonal state of being. The article concludes by positing that hunting, gathering, tool-making and art can be reframed as ‘forms of the movement of consciousness’. (shrink)

Through stories & narratives, listeners are invited to sort through the stories & beliefs that have been given meaning to their lives.

This essay reviews one of the most recent books in a trend of new publications proffering evolutionary theorising about aesthetics and the arts—themes within an increasing literature on aspects of human life and human nature in terms of evolutionary theory. Stephen Davies’ The Artful Species links some of our aesthetic sensibilities with our evolved human nature and critically surveys the interdisciplinary debate regarding the evolutionary status of the arts. Davies’ engaging and accessible writing succeeds in demonstrating the maturity and scope (...) of the field and his critique is timely and unparalleled. A laudable effort, however it may have benefited from espousing a co-evolutionary model more explicitly. Moreover there may be reason to question the usefulness of the standard set of distinctions (‘adaptation’, ‘spandrel’, ‘technology’) that Davies appeals to. (shrink)

A new take on our bio-cultural evolution explores how the "inner theatre" of the brain and its "animal-human stages" are reflected in and shaped by the mirror of cinema. Vampire, werewolf, and ape-planet films are perennial favorites—perhaps because they speak to something primal in human nature. This intriguing volume examines such films in light of the latest developments in neuroscience, revealing ways in which animal-human monster movies reflect and affect what we naturally imagine in our minds. Examining specific films (...) as well as early cave images, the book discusses how certain creatures on rock walls and movie screens express animal-to-human evolution and the structures of our brains. The book presents a new model of the human brain with its theatrical, cinematic, and animal elements. It also develops a theory of "rasa-catharsis" as the clarifying of emotions within and between spectators of the stage or screen, drawing on Eastern and Western aesthetics as well as current neuroscience. It focuses on the "inner movie theater" of memories, dreams, and reality representations, involving developmental stages, as well as the "hall of mirrors," ape-egos, and body-swapping identifications between human beings. Finally, the book shows how ironic twists onscreen—especially of contradictory emotions—might evoke a reappraisal of feelings, helping spectators to be more attentive to their own impulses. Through this interdisciplinary study, scholars, artists, and general readers will find a fresh way to understand the potential for interactive mindfulness and yet cathartic backfire between human brains—in cinema, in theater, and in daily life. (shrink)

The article investigates the peculiarities of Durer's aesthetic views in the context of Renaissance philosophy and the theory of cognition of Modern times. Its provisions are compared with fragments of texts by L.-B. Alberti, Leonardo da Vinci, Raphael. The semantic interrelationships of Durer's positions with mysticism, pantheism, natural philosophy and empiricism of Modern Times are emphasized. The interrelation of the problem of knowledge with the theme of freedom and beauty is considered in detail. The authors analyze various opinions and ways (...) of comprehending the beautiful, presented in the philosophical constructions of Durer, his concept of "rational knowledge", "scientific ignorance". Special attention is paid to the boundaries of freedom in Durer's representation. The novelty of the research lies in the fact that the presented concept of the evolution of A. Durer's aesthetic views helps to comprehend those contradictory trends that existed in the Renaissance itself. Thus, Durer believed that freedom conditioned by knowledge ends where attempts to transcend nature begin. A necessary condition for freedom is the understanding that the beautiful is relative. From the understanding of the relativity of the beautiful, from the concrete utopian program of its achievement, an imperative grows, meaning denial, the completion of the aesthetics of Rebirth. According to him, the artist should not limit himself to one type, but should be knowledgeable in various ways of depicting all kinds of types. In order to make such an image as is required of him. Thus, the professionalism of the artist, his experience, knowledge, recognition of the power of knowledge and, at the same time, understanding of its relativity – all this, as an achievement of the Renaissance theory of art, loses its meaning. All this is sacrificed to the tastes of employers. (shrink)

In his earliest philosophical work, Moritz Schlick developed a proposal for rendering aesthetics into a field of empirical science. His 1908 book Lebensweisheit developed an evolutionary account of the emergence of both scientific knowledge and aesthetic feelings from play. This constitutes the framework of Schlick’s evolutionary psychological methodology for examining the origins of the aesthetic feeling of the beautiful he proposed in 1909. He defends his methodology by objecting to both experimental psychological and Darwinian reductionist accounts of aesthetics. Having countered (...) these approaches, Schlick applies Külpe’s psychological distinction between stimulus-feelings and idea-feelings to collapse the traditional philosophical opposition between the agreeable and the beautiful. Both types of feeling, Schlick argues, result from humans’ adaptation to their environment. Because of this adaptation, feelings that were once only stimuli for action can come to be enjoyed for their own sake. This thesis underlies Schlick’s 1908 argument that art, qua mimesis, is necessarily inferior to aesthetic feelings directed towards the environment. Part of Schlick’s justification for this view is that humans are, through a long evolutionary process, better adapted to their environment than to artworks. Schlick nevertheless concedes that mimetic art can involve ways of abstracting from the objects it copies to produce idealised regularities that are not found in the original. Schlick thus concludes that art teaches its audience how to perceive the world in this abstract and idealised manner. This type of environmental aesthetics constitutes a means for reaching Schlick’s utopian ecological vision of a future in which culture will become harmonised with nature. (shrink)

Writers in pragmatist aesthetics tend, as naturalists, to avoid the originally Kantian-Idealist term “autonomy” when discussing art and aesthetic experience. Even so, a more general autonomy concept, emphasizing that art and the aesthetic comprise a normatively special aspect of experience, is already implicit in much of the pragmatist aesthetics literature, including in John Dewey’s seminal Art as Experience. As the cultural disciplines move beyond earlier modernist- and postmodernist-era debates about art’s total autonomy from or total “heteronomous” absorption within the processes (...) of life, I argue that a more naturalistically down-to-earth version of the above general autonomy idea remains indispensable in a century of social, environmental, and existential crises whose solutions demand creative agency of a kind that artistically charged experiences can inspire. Drawing upon key pragmatist themes, I further develop the general autonomy idea by arguing that aesthetic experiences within and without the fine arts are horizontally transcendent; that art and the aesthetic answer a persistent human need for experiences that are intrinsically rewarding while also serving the instrumental function of being redemptive; that to this end, our global culture needs collectively accessible autonomous spaces within language and experience that can help people explore and interrogate the meanings of what we individually and collectively do; and that the value of our theoretical beliefs about the arts lies not in their power to represent a world supposedly independent of human thought and action but in what they lead us to do in the world. In conclusion, I illustrate this pragmatic interpretation of the general autonomy idea with a reading of Richard Powers’ novel The Overstory. (shrink)

The article examines the evolution of the views of the German poet and playwright Friedrich Schiller on the concept of a "beautiful soul" as a harmonious combination of mind (form) and sensuality (matter). The idea of this evolution is formed on the basis of the poet's artistic works. The main objects of research are six of Schiller's dramas ("The Robbers", "The Fiesco Conspiracy in Genoa", "Don Carlos, Infante of Spain", "Mary Stuart", "The Maid of Orleans" and "William Tell"), (...) which most vividly depict the poet's attempts to resolve the conflict between form and matter. A number of Schiller's theoretical works are considered as additional sources: on physiology, history and aesthetics. In turn, additional sources allow us to form an idea of the socio-political significance that Schiller attached to his vision of a "beautiful soul." The research is based on the following methods: descriptive, comparative and biographical methods of analyzing works of art. The author of the article proceeds from the premise that the poet, who began under the strong influence of the literary movement "Storm and Onslaught", quickly became disillusioned with Sturmer's individualist hero, whose goal was to maximize his own potential, albeit to the detriment of society. At the same time, it is noted that Schiller did not have confidence in the state and its laws, which seek to simplify the diversity of life by subordinating it to ideal forms. It is concluded that the existence of a "beautiful soul" acting at will and not limited by the law is possible only in a society in which the state has disappeared as an independent institution, merging with the people; in which there is no class stratification and a gap between ordinary citizens and rulers. The contribution of the author of the article is to develop the idea of Schiller as a kind of "ideologue" of a stateless society. The results obtained are planned to be developed in a series of articles devoted to the consideration of Schiller's philosophical views. (shrink)

The subject of the study is the epistemological specificity of art through the «prism» of the Paleolithic and modern eras. The focus of the research is aimed at analyzing the phenomenon of «eidetism», which is a link between modern and primitive art. The purpose of the article is to comprehend the epistemological specifics of art, which began with the «psychophysiology» of the primitive world and developed into forms of «practical philosophizing» of the modern era. The research methodology includes a review (...) of literary sources, a dialectical approach to historical and art historical reconstruction, analysis of paleopsychological data, comparative analysis, elements of systems psychology and sociology. An element of novelty is the author's position that already in the lower, early layers of its evolution, the status of art «as one of the most ancient forms of human activity» is enriched by the status of «a form of practical philosophizing». The generalization is made that the art of the XX-XXI centuries, on the one hand, abandoned both mimesis and humanism, on the other – it continued the path of «practical philosophizing» begun in ancient times, based on the perceptual-empirical method of cognition of reality. The evolution of art from its primitive origins through archaic, classical to its modern state is, at the same time, the transformation of human consciousness, and the comprehension through artistic and creative activity of one's being and place in the universe, etc. - the development of its «depth» (the content of art). This is the development of art «in breadth» (the development of artistic form): the proliferation of its types and genres, the growth of stylistic and technological polyphony, etc. As a result, «art has come a long way from its purely psychophysiological hypostasis to «practical philosophizing». Artistic and creative activity itself as a whole continues to be the most important component of the global «mechanism» of mastering reality. (shrink)

Our love for art is a compound byproduct of four different evolutionary events which attached reward to conscious experience itself, to the direction of attention to significant items in consciousness, to representations of scenarios in the brain's default mode network, and to the experience of novel stimuli. Aesthetic experiences contain varying amounts of these rewards, which helps to explain their diversity.

The article is devoted to a comprehensive analysis of the transformation of the reflection of computer technologies and network resources in the Terminator cinematic and literary universe created by the American director J. Cameron in the mid 1980s and early 2020s. In this study the authors substantiate the relevance and scientific component of the problem under study. The paper considers the degree of importance of high technologies and social networks in modern public life. The article provides a justification for the (...) fallacy of the judgment, according to which works of fiction of a fantastic orientation perform purely entertaining function and do not carry a significant semantic load. This article also provides an argument for choosing the Terminator fantastic universe as an example for research, wit an analysis of the reasons for its great popularity and high degree of significance for contemporary art. The authors of the work subject the key components of the topic under consideration to reflection, taking into account the changes that have taken place in the public consciousness over three and a half decades, takin inti account the differences in historical and political realities – from the last quarter of the 20-th century to the present, until the beginning of the third decade of the XXI century. This article provides a comparative analysis of the reasons for significant differences in the display of high technology and online resources in cinema and fiction. The work draws parallels and analogies with historical events, analyzes the use of the religious meanings used in the Terminator universe. The authors of the article analyze the moral issues that are raised by the creators of the fantastic universe of Terminator in the context of the positive and negative consequences of the intense growth of the role of high technologies and communicative Internet sites in the life of human society. (shrink)

The emergence of cave art in Europe about 30,000 years ago is widely believed to be evidence that by this time human beings had developed sophisticated capacities for symbolization and communication. However, comparison of the cave art with the drawings made by a young autistic girl, Nadia, reveals surprising similarities in content and style. Nadia, despite her graphic skills, was mentally defective and had virtually no language. I argue in the light of this comparison that the existence of the cave (...) art cannot be the proof which it is usually assumed to be that the humans of the Upper Palaeolithic had essentially ‘modern’ minds. The article includes peer commentary by Paul Bahn, Paul Bloom, Uta Frith, Ezra Zubrow, Steven Mithen, Ian Tattersall, Chris Knight, Chris McManus and Daniel Dennett , with response by Nicholas Humphrey. [Owing to the number of illustrations, the full text for this file is in excess of 1 Mb. .]. (shrink)

Cultures evolve. In one sense, this is a truism; in other senses, it asserts one or another controversial, speculative, unconfirmed theory of culture. Consider a cultural inventory of some culture at some time—say A.D. 1900. It should include all the languages, practices, ceremonies, edifices, methods, tools, myths, music, art, and so forth, that compose that culture. Over time, that inventory changes. Today, a hundred years later, some items will have disappeared, some multiplied, some merged, some changed, and many new elements (...) will appear for the first time. A verbatim record of this changing inventory through history would not be science; it would be a data base. That is the truism: cultures evolve over time. Everybody agrees about that. Now let’s turn to the controversial question: how are we to explain the patterns to be found in that data base? Are there any good theories or models of cultural evolution? (shrink)

In this article, focusing on the building blocks of art with its concomitant role and meaning, we commence with a brief evolutionary overview of the origin of land vertebrates, which culminated in the rise of our species as we view it. We then review three iconic phases of human evolution, colloquially designated as the Neanderthals, the San and the Cro-Magnons, as manifested by their artistic endeavours. We are well aware that the Cro-Magnons are currently regarded as not sufficiently distinct (...) from modern Homo sapiens to be separately designated. Therefore, the terms ‘anatomically modern humans’ or ‘early modern humans’ are suggested for these inhabitants of the Upper Palaeolithic as they shared an anatomical resemblance with us but still lacked the full complement of behavioural attributes that typify ourselves. This particular selection was chosen because these groups have partially overlapped historically, yet each represents a distinctive approach to the artistic impulse. Subsequently, we consider more contemporary developments regarding human art intertwined with our interpretation of art’s role and meaning. Then, we briefly discuss a broader account of the evolution of art in which these three phases are firmly based and through which our understanding of and engagement with the evolutionary development of these stages are elucidated and complemented. In conclusion, particular views about language and the role and meaning of art are confirmed. Particular views about language and the role and meaning of art are endorsed and supplemented by an extensive body of relevant literature.Contribution: This article explores the evolution of art and its accompanying role and meaning in an intersectional and interdisciplinary manner that fits well with the intention of this unique collection on the building blocks of our past, present and future and with the nature of this journal and our ongoing engagement with HTS Teologiese Studies/Theological Studies. (shrink)

Paleontological evidence suggests that human artefacts with intentional markings might have originated already in the Lower Paleolithic, up to 500.000 years ago and well before the advent of ‘behavioural modernity’. These markings apparently did not serve instrumental, tool-like functions, nor do they appear to be forms of figurative art. Instead, they display abstract geometric patterns that potentially testify to an emerging ability of symbol use. In a variation on Ian Hacking’s speculative account of the possible role of “likeness-making” in the (...) evolution of human cognition and language, this essay explores the central role that the embodied processes of making and the collective practices of using such artefacts might have played in early human cognitive evolution. Two paradigmatic findings of Lower Paleolithic artefacts are discussed as tentative evidence of likenesses acting as material scaffolds in the emergence of symbolic reference-making. They might provide the link between basic abilities of mimesis and imitation and the development of modern language and thought. (shrink)

Since Darwin proposed that human musicality evolved through sexual selection, empirical evidence has supported intersexual selection as one of the adaptive functions of artistic propensities. However, intrasexual competition has been overlooked. We tested their relative importance by investigating the relationship between the self-perceived talent/expertise in 16 artistic and 2 sports modalities and proxies of intersexual selection and intrasexual competition in heterosexuals. Participants were 82 Brazilian men, 166 Brazilian women, 146 Czech men, and 458 Czech women. Factor analysis revealed five factors: (...) Literary-arts, Visual-arts, Musical-arts, Circus-arts, and Sports. Multivariate General Linear Model showed more associations of the arts to intersexual selection in women and to intrasexual selection in men, and overall more relationships in women than in men. In women, literary and musical-arts were related to elevated inter- and intrasexual selections proxies, visual and circus-arts were related to elevated intersexual selection proxies, and sports were related to intrasexual selection proxies. In men, literary-arts and sports were related to elevated inter- and intrasexual selection proxies, musical-arts were related to intrasexual proxies, and circus-arts were related to intersexual proxies; visual-arts did not have predictors. Although present in both sexes, each sexual selection component has different relative importance in each sex. Artisticality functions to attract and maintain long/short-term partners, and to compete with mating rivals. (shrink)

In this chapter, the author begins with Arthur Danto's reflections upon art and evolution in his 1985 David and Marianne Mandel Lecture in Aesthetics presented at the Annual Meeting of the American Society for Aesthetics. “Primitive” artifacts influenced modernist artists because the “conceptual complexity and aesthetic subtlety” of such artifacts revealed to them artistic possibilities that transcended the “prevailing aesthetic canons” of late nineteenth‐century European art. Danto's argument has drawn widespread criticism, many of his critics, including Vogel herself, questioning (...) the role played in that argument by the anthropological thought experiment. Danto might be more sympathetic to Gell, who prefaces his own proposal by rebuking anthropologists of art for remaining in the thralls of a “reactionary” aesthetic conception of art. (shrink)

Abstract…observations of skylfull pylotts is the onlye waye to bring it in rule; for it passeth the reach of naturall philosophy. – Michael Gabriel, 1576 (Collinson, 1867, p. 30)Abstract The tension between empirical data and formal theory pervades the entire history of geomagnetism, from the Middle Ages up to the present day. This paper explores its early-modern history (1500–1800), using a hybrid approach: it applies a methodological framework used in modern geophysics to interpret early-modern developments, exploring to what extent formal (...) conjectures shaped observation and vice versa. A range of pertinent case studies supports classification of this entire period as proto-scientific, characterised by the initial formation of theories being largely disconnected from observational constraints, and their subsequent evolution being advanced primarily by their empirical falsification, and not necessarily associated with the introduction of an alternative. The few exceptional instances of purely data-driven discovery were essentially due to an improved signal-to-noise ratio. (shrink)

An unmade bed. A cigarette glued to the wall. A replica of a soup can box. Drippings on a canvas. Can an evolutionary approach help us understand the production and appreciation of, sometimes perplexing, modern and contemporary art? This chapter attempts at this by investigating two hypotheses about the evolution of human aesthetics in the domain of art. The first hypothesis, commonly called evolutionary aesthetics, asserts that aesthetic preferences, such as those for particular faces, body shapes and animals, have (...) evolved in our ancestors because they motivated adaptive behavior. Artworks may exploit these ancestral aesthetic preferences. In contrast, the second hypothesis states that aesthetic preferences continuously coevolve with artworks, and that they are subject to learning from, especially prestigious, other individuals. We called this mechanism prestige-driven coevolutionary aesthetics. Here I report artistic fieldwork and psychological experiments we conducted. We found that while exploitation of ancestral aesthetic preferences prevails among non-experts, prestige-driven coevolutionary aesthetics dominate expert appreciation. I speculate that the latter mechanism can explain modern and contemporary art’s deviations from evolutionary aesthetics as well as the existence and persistence of its elusiveness. I also discuss the potential relevance of our findings to major fields studying aesthetics, that is, empirical aesthetics, and sociological and historical approaches to art. (shrink)

Resumo: O objetivo deste artigo é discutir a evolução das formas de embalagens de mercadorias sob a perspectiva da evolução da mídia e da filosofia da arte. Primeiramente, analisamos a evolução histórica das embalagens de mercadorias, no processo de evolução dos meios, do design artesanal ao digital, revelando as mudanças dos meios de embalagem em diferentes períodos. Posteriormente, na perspectiva da filosofia da arte, tratamos da conotação da embalagem commodity, como forma de arte, e discutimos o uso de elementos artísticos (...) no design de embalagens e seu papel na transmissão de emoções e conceitos. Neste contexto, adotamos a evolução da filosofia da mídia e da arte como ponto de entrada para analisar a evolução das formas de embalagem de mercadorias. (shrink)

It is the aim of this work to examine the pivotal role of Johann Joachim Winckelmann (1717-1768) as a judge of classical sculpture and as a major contributor to German art criticism. John Harry North seeks to identify the key features of his treatment of classical beauty, particularly in his famous descriptions of large-scale classical sculpture. Five case studies are offered to demonstrate the academic classicism that formed the core of his philosophy of art. North aims to establish Winckelmann's place (...) in the development of the German language. His prose contributed to a literary style that was suitable for the expression of an emotional response to visual experiences. His use of rhetoric in the assessment of classical art, however, make his judgements propagandist rather than analytical. The published works of Winckelmann, his draft essays and his collected private correspondence are advanced as criteria in the evaluation of his impact on the development of German classicism that culminated in the Weimar group of poets and writers. His Grecophile enthusiasm, however, led him to introduce stylistic categories in the development of classical marble sculpture that are no longer regarded as truly reflecting the evolution of Greco-Roman art. Thus his historicity and his classification of styles remain in doubt. Winckelmann proposed that the training of modern artists should concentrate on the observation and imitation of classical models instead of looking to nature as the source of inspiration. This plan succeeded to some extent in the generation that followed his untimely death. Throughout the succeeding century, artists and their sponsors did favour classical models and developed stylistic classicism in European freestanding sculpture, in painting and in architecture. (shrink)

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. (shrink)

There has been a recent surge of evolutionary explanations of art. In this article I evaluate one currently influential example, Brian Boyd’s recent book On the Origin of Stories: Evolution, Cognition, and Fiction (2009). The book offers a stimulating collection of findings, ideas, and hypotheses borrowed from a wide range of research disciplines (philosophy of art and art criticism, anthropology, evolutionary and developmental psychology, neurobiology, ethology, etc.), brought together under the umbrella of evolution. However, in so doing Boyd (...) lumps together issues that need to be separated, most importantly, organic and cultural evolution. In addition, he fails to consider alternative explanations to art as adaptation such as exaptation and constraint. Moreover, the neurobiological literature suggests current evidence of biological adaptation for most of the arts is weak at best. Given these considerations, I conclude by proposing to regard the arts instead as culturally evolved practices building on pre-existing biological traits. (shrink)

This article mainly outlines and explores the art exhibitions held between China and the Soviet Union during the founding of the People's Republic of China. The author examines in detail such aspects of the topic as mutual exchanges of art exhibitions between China and the Soviet Union since the founding of the People's Republic of China. Particular attention is paid to the political background against which the evolution in Chinese art took place, as well as the legacy of Soviet (...) realist art in China in the political context and the interaction of art with politics and state-building. The author emphasizes the positive influence of art exhibitions held by the Soviet Union in China on Chinese art education and the creativity of artists. The main conclusions of this study are that the various exhibitions of Soviet art held in China provided an effective opportunity for Chinese artists to study Soviet realist oil paintings. The emergence of Soviet realism in China also served as an important reference point for the development of Chinese oil painting in the 1950s. The novelty of the study lies in the fact that the author not only analyzed the process of the acceptance and dissemination of Soviet realist art in China, but also examined the beginning and end of artistic exchange between China and the Soviet Union in conjunction with the country's social environment and the political leadership of its leaders. (shrink)

Darwin's art collection : the prints, drawings, and photographs Darwin collected in the 1860s and 70s -- Illustrations and illusion : strategies Darwin used in illustrating his books -- Art, experience, and observation : Darwin's knowledge of art history and use of illustration in his books -- Darwin and the passions : how passion manuals informed Darwin's research -- Photography and evolution meet : connections between photography and biology in the 1860s -- Method to their madness : how photography (...) in mental hospitals influenced Darwin -- Laughing and crying : Darwin's quest for pictures of expressive babies -- Darwin's eyes and ears : the artists who guided Darwin's search for pictures -- Darwin's art photographer : Oscar Rejlander, Darwin's favorite photographer -- Rejlander's performances : posing for Darwin's pictures -- Alice, eugenics, and the spirit world : the aftermath of Darwin's experiments. (shrink)

The paper examines the evolution of modernity concepts starting from the Renaissance to the present day, emphasizing the impact on architecture and urbanism. During the period of the Renaissance and the Enlightenment, people framed an evolutionary notion of history and the concept of the modern associated with the contemporary, the new, and the fleeting emerged. This period connected modernity with the idea of relativity of truth as opposed to the absolute truth of the Middle Ages. In the 18th and (...) 19th centuries, modernity clashed with tradition. This led to economic and political modernization. It also influenced artistic movements and cultural trends. The Industrial Revolution epitomized this period. It was driven by scientific and technological advancements. The paper discusses the objective and subjective perspectives of modernity, highlighting its dual nature in socioeconomic processes and personal experiences. Key thinkers like Habermas Weber and Baudelaire provide frameworks for understanding modernity's developments in science, art, and morality. The avant-garde movements influenced by Bauhaus, emphasized functionality. They also focused on rationality in architecture. However, critiques emerged, advocating the concept of unitary urbanism. This vision includes adaptable living spaces. It promotes an ever-changing urban environment, as exemplified by Constant's New Babylon. The Adorno's aesthetic theory criticized the industry's commodification of art and emphasizes art's utopian potential. Adorno's concept of mimesis and his critique of rationality and instrumental reason are explored reflecting the paradoxical nature of modernity. Finally, the paper contrasts the views of architects like Mies van der Rohe, Norberg-Schulz, and Eisenman. It concludes by reflecting on architecture's ongoing interaction with modernity. It emphasizes a balance between innovation tradition and the dynamic nature of human experience and social development. (shrink)

The aim of the paper is to investigate paths along which a transformation of the doctrine of natural signs was developed in works by Paracelsians, forming one of the main religious and philosophic currents of Late Renaissance. The modifications of the doctrine are discussed in a context of intensive speculations on the essence of the primordial language of humankind and on the possibility of its restoration, which can describe the intellectual life of that epoch. It is argued that within “chemical (...) philosophy” the possibility of restoration of the Adamic language directly depends on mastering the art of interpreting natural signs, which can give a key to correct understanding of nature. And shifts in the conceptualization of such signatures involved transformations in formulating and solving of the Adamistic problems, which did not exclude reverse causation. It is also ascertained that the most orthodox followers of Paracelsus usually appealed to the Adamistic narrative in order to reinforce legitimacy of the symbolic hermeneutics of nature, developed with chiefly medico-pharmacological purposes. Meanwhile, relatively more independent Paracelsians often paid more attention to linguo-philosophic issues. Realizing the deficiency of the doctrine of signatures for reconstruction of the primordial language, they postulated the necessity of one of the following premises: supplementing the doctrine with a mystical illumination; acceptance of a weaker version, according to which natural signs are just sparse reference points slightly simplifying empirical study of nature; abandonment of search for the Ursprache and constructing its artificial substitute, a universal semiotic system. (shrink)

The subject of the study is the ontological ideas of ancient Chinese music in the context of the formation of philosophical schools of Ancient China, which make it possible to identify a number of philosophical categories that underlie traditional chinese music and outline different approaches to its understanding and interpretation. Most Chinese researchers in the field of musical aesthetics focus on the art of music, rare to pay attention to the philosophical origins of the categories of music that past thinkers (...) wrote about when analyzing laws of existence of the universe. Restoring and rethinking these values in the context of the philosophical and cultural analysis of ancient Chinese music is key to this work, which allows us to gain an understanding of the specifics of ancient Chinese culture and its musical heritage. The novelty of the work lies in carrying out the correlation of genesis of the musical ontology of Ancient China with the dynamics of the formation of the philosophical schools of Confucianism, Taoism and Buddhism, their rise or fall depending on the historical and cultural situation. Musical philosophy in China has not yet become an independent discipline, so the presented work makes a significant contribution to the field of musical ontology. During the study, the authors revealed three main aspects which are basic for the ontology of ancient Chinese music: The nature of music has its source three categories: Tao, air and sound, existing both in a natural state in nature and embodied in musical structure and instruments; Sound and rhythm being the essence to any musical work, organize the sounding space in accordance with the cosmic order; The metaphysical nature of music is justified by the basic principles of Taoist philosophy and number theory. (shrink)