Art and intimacy : how the arts began
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Bibliographic Information
Art and intimacy : how the arts began
University of Washington Press, c2000
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Note
A McLellan book
Includes bibliographical references and indexes
Description and Table of Contents
Description
To Ellen Dissanayake, the arts are biologically evolved propensities of human nature: their fundamental features helped early humans adapt to their environment and reproduce themselves successfully over generations. In "Art and Intimacy", she argues for the joint evolutionary origin of art and intimacy, what we commonly call love. It all begins with the human trait of birthing immature and helpless infants. To ensure that mothers find their demanding babies worth caring for, humans evolved to be loveable and to attune themselves to others from the moment of birth. The ways in which mother and infant respond to each other are rhythmically patterned vocalisations and exaggerated face and body movements that Dissanayake calls rhythms and sensory modes. Rhythms and modes also give rise to the arts. Because humans are born predisposed to respond to and use rhythmic-modal signals, societies everywhere have elaborated them further as music, mime, dance, and display, in rituals which instil and reinforce valued cultural beliefs. Just as rhythms and modes co-ordinate and unify the mother-infant pair, in ceremonies they co-ordinate and unify members of a group.
Today, we humans live in environments very different from those of our ancestors. They used ceremonies (the arts) to address matters of serious concern, such as health, prosperity, and fecundity, that affected their survival. Now, we tend to dismiss the arts, to see them as superfluous, only for an elite. But if we are biologically predisposed to participate in artlike behaviour, then we actually need the arts. Even - or perhaps especially - in our fast-paced, sophisticated modern lives, the arts encourage us to show that we care about important things. Ellen Dissanayake has recently held Distinguished Visiting Professorships in the College of Fine Arts at the University of Alberta, Edmonton, Canada, and at Ball State University, Muncie, Indiana. She has lectured and taught in a variety of settings, including the New School for Social Research in New York City, the National Arts School in Papua New Guinea, and the University of Edinburgh in Scotland. She is the author of "Homo Aestheticus: Where Art Comes From and Why and What Is Art For?"
Table of Contents
Contents List of Illustrations Preface Introduction: Love and Art 1. Mutuality 2. Belonging 3. Finding and Making Meaning 4. iHands-oni Competence 5. Elaborating 6. Taking the Arts Seriously Appendix: Toward a Naturalistic Aesthetics Notes References Cited
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