File Name: homo aestheticus where art comes from and why .zip
A Critical Theory of Creativity pp Cite as. Unlike the Ephretans and the Harmonists, these communities continue today. The chapter focuses, however, not on their modernity but on their craft, creativity and aesthetics.
Dissanayake argues that art was central to human evolutionary adaptation and that the aesthetic faculty is a basic psychological component of every human being. In her view, art is intimately linked to the origins of religious practices and to ceremonies of birth, death, transition, and transcendence. Drawing on her years in Sri Lanka, Nigeria, and Papua New Guinea, she gives examples of painting, song, dance, and drama as behaviors that enable participants to grasp and reinforce what is important to their cognitive world. Publishers WeeklyHomo Aestheticus offers a wealth of original and critical thinking. It will inform and irritate specialist, student, and lay reader alike.
No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the publisher. Includes bibliographical references and index. ISBN alk. D56 ] '. Eisenberg S. Introduction: Why Species-Centrism?
Du kanske gillar. What Is Art For? Ellen Dissanayake E-bok. Art and Intimacy Ellen Dissanayake Inbunden. Art and Intimacy Ellen Dissanayake E-bok.
Access options available:. Philosophy and Literature The intellectual climate of postmodernism has not been particularly encouraging for the development of an evolutionary theory of the arts. Concentrated in constructionist modes of analysis and interpretation for the past thirty years, the social sciences and humanities have asserted that aesthetic objects and practices are produced and regulated by social and cultural structures, and serve overwhelmingly to reinforce those structures. In its most extreme form, postmodern constructionism claims that all meaning or significance derives from social and cultural factors, and that perceived truth is a matter of agreement or a function of power. If, for instance, we like Edward Weston's photographs and Georgia O'Keefe's paintings because we observe striking similarities between the organic forms represented in them and features of the human form, postmodernism counsels us that our preferences are dictated by social and cultural regulators, such as current discourses about nature and art, and not in any way by predisposed attractions to types of natural objects or to the relationships between them. Certainly, it would be foolhardy to argue that social and cultural context have no influence on either the type of art that is produced or its reception in any given culture, but a thoroughgoing or strong [End Page ] constructionism is another matter.
imstea.org: Homo Aestheticus: Where Art Comes From and Why (): Dissanayake, Ellen: Books.
Ellen Dissanayake [ pronunciation? Dissanayake's birth name was Ellen Franzen; she was born in Illinois and raised in Walla Walla, Washington, where her father was an engineer and her mother a homemaker. She received a B. In her book Homo Aestheticus: Where Art Comes From and Why first printed in , Dissanayake argues that art was central to the emergence, adaptation and survival of the human species, that aesthetic ability is innate in every human being, and that art is a need as fundamental to our species as food, warmth or shelter.
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Photograph by Ekkehart Malotki. American Journal of Play 9 2 : Estetika: the Central European Journal of Aesthetics 7 1 : Philosophy and Literature Bartelesi and G.
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