The Psychology of Art

Eisenstein begins his article with the basic problem of all forms of art: how is theme or content changed from an object of reality into an object of art and what is the secret of the method of art? The rest of his presentation gives examples of different art forms to show how reality is transformed into art. Cinema has a special status among arts because best films “are larger than life.”     

Subverting the Venue: A Critical Exhibition of Pre-Columbian Objects at Krannert Art Museum

My temporary exhibition in Krannert Art Museum, The Social Context of Violence in Ancient Peruvian Art (March 27–May 23, 2004), is transgressive and self-critical. While presenting a small number of objects in the university art museum's collection that depict ancient violence (battles, human sacrifice, and trophy head taking), the exhibition simultaneously argues that the objects themselves are the result of violence, specifically to the archaeological record through the act of looting. The exhibition further suggests that the looters are themselves the victims of a failed national economic system that does not enable them to earn a living wage as farmers and of an exploitative international art market that similarly pays them little for objects that become immensely valuable (financially and culturally) once out of the country. Museums, and especially university museums, may be enabling venues for the interrogation of their own hegemonic practices.     

Unraveling Silence: Violence,Memory and the Limits of Anthropology’s Craft<Superscript>1</Superscript>

What are the ethical dilemmas that conducting anthropological on memory in South Africa poses to the student of violence? In the specific context of “victim support groups” in post-1994 South Africa, one of the most problematic issues relates to the interactions between “trauma experts” and “victims.” In the view of many survivors, the violence of voicelessness, an issue to which there is a particular sensitivity in the country, is re-inscribed in their life through the specific intervention of social scientists. One of the effects of this interventions, which determines the limits and possibilities of any research on memory as it connects to violence, is a widespread reaction against experts, whose work, the production and dissemination of knowledge about trauma on the basis of other people’s experiences, is often perceived by survivors as being part of a broader economy of subtraction where their “voices” have become commodities in a transnational network of prestige.     

Multiple dispersals and modern human origins

Despite a massive endeavour, the problem of modern human origins not only remains unresolved, but is usually reduced to “Out of Africa” versus multiregional evolution. Not all would agree, but evidence for a single recent origin is accumulating. Here, we want to go beyond this debate and explore within the “Out of Africa” framework an issue that has not been fully addressed: the mechanism by which modern human diversity has developed. We believe there is no clear rubicon of modern Homo sapiens, and that multiple dispersals occurred from a morphologically variable population in Africa. Pre-existing African diversity is thus crucial to the way human diversity developed outside Africa. The pattern of diversity—behavioural, linguistic, morphological and genetic—can be interpreted as the result of dispersals, colonisation, differentiation and subsequent dispersals overlaid on former population ranges. The first dispersals would have originated in Africa from where two different geographical routes were possible, one through Ethiopia/Arabia towards South Asia, and one through North Africa/Middle East towards Eurasia.     

Three-Dimensional Puzzles: Southern African and Upper Palaeolithic Rock Art

The history of anthropology is a growing field of study within the discipline itself. Our series 'Key Informants on the History of Anthropology' contributes to the discussion of how anthropology, as it is understood and practised today, evolved and took shape. In the following invited contribution, David Lewis-Williams reflects on the major reinterpretation of southern African rock art and Upper Palaeolithic art that took place in the 1970s and 1980s. An earlier interpretation of the rock art as representing hunters' impressions of their prey was replaced by sophisticated interpretations of the cosmology of the first inhabitants of South Africa. Lewis-Williams's work was crucial in bringing about this shift. David Lewis-Williams is Professor Emeritus of Archaeology and founder of the Rock Art Research Institute of the University of the Witwatersrand, South Africa, which promotes studies of the more than 15,000 sites within the country.     

Genetics and modern human origins

The past decade has brought considerable debate on the subject of modern human origins. The nature of the transition from Homo erectus to archaic Homo sapiens to modern H. sapiens has been examined primarily in terms of the relative contribution of archaic populations to later moderns, both within and among geographic regions. The recent African origin model proposes that modern humans appeared first in Africa between 100,000 and 200,000 years ago, and then spread through the rest of the Old World, replacing preexisting populations.^1–6 This model has been referred to by a variety of names, including “replacement”, “Garden of Eden”, “Noah's Ark”, and “out of Africa”. The recent African origin model contrasts with the multiregional model, which proposes a species-wide transition to modern humans throughout the Old World during the past million years or more.^7–10 Indeed, some proponents of the multiregional model advocate placing Homo erectus and all subsequent species of Homo in the evolutionary species Homo sapiens.¹¹ This contrasts with the view that there were multiple hominid species during the Middle Pleistocene. The debate continues.^12,13 Although the multiregional model is often portrayed as proposing a simultaneous transition to anatomically modern humans in different geographic regions, it explicitly allows for varying degrees of continuity across time and space.¹⁰ This model, in the broad sense, does not rule out the possibility that modern human morphology appeared first in Africa and then spread through the rest of the Old World through gene flow. However, not all advocates of the multiregional model adhere to this specific subset of the general model.⁹ Comparison of the African and multiregional models is complicated by considering other, less extreme, hypotheses. Some versions of the recent African origin model imply a speciation event associated with the initial origin of modern humans. Another version, which suggests the possibility of some admixture between “moderns” leaving Africa and preexisting “archaics” elsewhere in the Old World,^14,15 is similar to some variants of the multiregional model, which also suggest that modern morphology appeared first in Africa, but involved admixture with other Old World populations.¹⁶ The major difference between these views appears to be the extent of admixture, although the exact level is never specified. A further complication is the possibility that multiple dispersals from Africa produced a more complicated pattern of worldwide variation.¹⁷     

Ancient North American Art Surfaces in the Art World: A Review of Hero, Hawk, and Open Hand

Hero, Hawk, and Open Hand rated as a must-see for anyone with an interest in art of the ancient Americas or ancient art in general—an exhibition whose breadth and depth in terms of visual material would be difficult, if not impossible, to replicate. This review takes a look beyond the immediate frame of the exhibition at some additional context related to the appreciation of these objects as ancient art, including some reflection on the original objectives of the exhibition and what appeared, at least to this anthropologist, as palpably missing or unspoken.     

Parure,pigment et art mobilier du Paléolithique supérieur au Japon

In the Japanese Archipelago, Upper Palaeolithic Accessories, Pigment and Portable Art are discovered, but very few. We introduce the Palaeolithic Art in Japan including new discoveries. The majority of accessories is discovered in Hokkaido, for example the sites of Yunosato 4, Pirika 1, Kashiwadai1 and Obarubetsu 2, but very few in Honshu, the largest island of Japan: Togeyamabokujo 1 in Iwate and Fujiishi in Shizuoka. A lot of pigments are discovered in Hokkaido like Kawanishi C, Kashiwadai 1, Marukoyama and Kiusu 5, without those of Deguchi-Kanezuka in Chiba in Honshu. Kashiwadai 1 in Hokkaido and Kamihikikiri in Chiba are the sites with portable art. In Ehime in Shikoku, one of four large islands of Japan, engraved pebbles called “Kamikuroiwa Venus”, of the Incipient Jomon followed after the Upper Palaeolithic period, before about 14,500 years, are researched again recently. The Palaeolithic art in Japan has a strong relation with Northeast Asia's art, because the lithic materials of Palaeolithic accessories in Hokkaido came from the Continent, and the engraved pebbles have some characters common with Siberian figurines, but also there are accessories and pigment of which the stones are native of the region from the beginning of the Upper Palaeolithic period.     

Native American Tattoos: Identity and Spirituality in Contemporary America

Influences from counterculture movements and tattooing traditions from around the world have transformed the North American tattoo experience. Consultants' narratives reveal a desire to align with a primal human essence, seen as somehow lost through the process of civilization. Images are intentionally chosen to seek connection with people considered to embody a simpler, truer form of human life; what scholars routinely refer to as the “primitive,” or the Other. In the cases under consideration, an effort is made to connect to a particular so-called primitive, that is, the American Indian. Thus, the current renaissance of tattoo as fine art provides an occasion to reconsider American fascination with “playing Indian” and all things Indian.     

On the early biogeographical history of the African placentals

The Paleocene Adrar Mgorn local fauna recently discovered in the Ouarzazate basin (Morocco) along with several significant Eocene North African faunas, has yielded the oldest known placental mammals of Africa. Contrary to those from the Eocene which are basically endemic, the Adrar Mgorn placentals display affinities with taxa from North‐Tethyan continents and indicate active faunal interchanges between Africa and Europe (and perhaps Asia) during the Cretaceous/Paleogene times. On biogeographical grounds, two dispersal events are suggested as a working hypothesis. The oldest one, exemplified by the presence of paleoryctid and adapisoriculid “insectivores”; in the Moroccan locality, possibly took place by the K/T boundary. The second dispersal event exemplified by the discovery of an omomyid primate and possible hyaenodontid creodonts may have been contemporaneous with the Paleocene/Eocene boundary during which a marine regression is also known.     

Review of the September 30, 2002 Symposium on the "Evolving Legal Status of Chimpanzees"-Harvard Law School

A survey was conducted to assess decisions people make when acquiring dogs, including what sources they consider, the importance of the variety of dogs available, and their willingness to travel to adopt dogs of their choice. A conjoint design was used to ask each respondent to rate his or her likelihood of acquiring a dog based on a “profile” that included attributes such as age, size, and color as well as where the dog came from and euthanasia risk. Overall, these results showed that people preferred variety and would drive distances to get dogs of their choice. The findings revealed that no single attribute drove choice, indicating that people have complex preferences and these vary widely across individuals. Nonhuman animal shelters may be able to increase their adoption rates by providing more variety and not just dogs typically thought of as “in demand” but those who represent a range of diversity through the utilization of animal relocation programs.     

Selling with the san: Representations of bushman people and artefacts in South African print advertisements

This paper examines the use of visual images of the Bushman peoples (San) and their cultural objects in contemporary South African advertising. As an image is a site of meaning, the relationship between the people represented in the advertisement and the culture for which the advertisement is produced demonstrates strategies of subjection and power. Within the context of the advertisement, I explore the extent to which San people are appropriated by the consumer society and their ritual objects reduced or altered to a Western aesthetic dimension. The contexts and ideas of the producing society determine production of the visual object.

The relationship between the San “artefact” and the advertisement as a work of “art” reflects a dimension of South African social and political processes. Representations of the two juxtaposed societies suggest that the value systems and cultural attitudes of the dominant group present contested domains which are explored. Bushmen represent a malleable signifier which is used to promote an apparently/ ostensibly applied vision of an emerging non‐racial country.     

Theoretical perspectives on cinema in Africa: Culture,identity and Diaspora

The study of African cinema is often assumed to be the study of black film. This paper examines this notion with respect to definitions of Africa, questions of identity, and different historical discourses of resistance. Western psychocentric approaches to film criticism are criticized. The issue of authorship is revisited with the question: Can a white director make a film reflecting the “black” experience? This question is explored with reference to debates about Spike Lee's Malcolm X and South African director Oliver Schmitz's Mapantsula. In the process, J examine how meanings are articulated and rearticulated in specific contexts by both those who define them and audiences which interpret them. The articulations of “race wars” in the USA and South Africa respectively are discussed, as is the relationship between race and class in the anti‐apartheid struggle. The disarticulation of Black Consciousness in South Africa from its popularizer, Steve Biko, by film activists in the Mass Democratic Movement during the 1980s, provides a background for the emergence of “non‐racial” cinema. Reception is suggested as a more subtle means of film categorisation. Mapantsula, for example, though made by a mainly white crew, is understood by black audiences to be a film accurately reflecting the experience of the black oppressed in South Africa. Though reception is a dynamic response, shifting and responding to historical trajectories and new discourses, with interpretations fragmenting between different classes and class fractions at different times, such a strategy for area and cultural classification of films avoids the pitfalls of categories based on ideology, myth, race and language.     

Two Competing Habitus among Hong Kong Art Practitioners

This article offers a comparison of the status of the “traditional” medium of oil painting or acrylic in Hong Kong SAR and in Mainland China. This issue concerns the well-known discourse about the hand as medium; a typical example of what Pierre Bourdieu would call habitus. The representation of art as something produced by the hand has been the only habitus in Euro-America for a number of centuries, and it remains so among many participants of the social field of art. The development of this habitus followed very different paths in Mainland China and in Hong Kong, thanks to very different institutions in those places. Those responsible for their establishment in the 20th century, especially educational institutions, are analyzed and provide the backdrop for the analysis of the field of art in present-day Hong Kong. New institutions and new ways for these institutions to deal with art education are now changing the field of art in Hong Kong, creating new concepts to deal with the issue of forms of art seen as respectively “traditional” and “contemporary.” In ways very different than what happens in Europe, for instance, where even media that can be seen as “traditional” like oil painting tend to belong to a single “contemporary art” habitus, Hong Kong has seen the establishment of a state of competition between two habitus seen as unrelated. This article concludes with a brief portrait of the state of struggle between these two habitus within the Hong Kong art field.     

Biosemiotics in a Gallery

In this article we review the biosemiotic art exhibition ?Signs of life? (Livstegn), that was organized by the Danish installation artist Morten Skriver and the biosemiotician Jesper Hoffmeyer in 2011 at the Esbjerg Art Museum (Denmark). The exhibition presented five central (bio)semiotic concepts using artistic tools: the semiosphere, the sign, semiotic scaffolding, semiotic freedom, and surfaces.     

“Where are you from?” Racialization,belonging and identity among second-generation African-Canadians

This paper explores how the query “where are you from” is central to processes of racialization in Canada, and how such encounters shape identities and belonging among second-generation African-Canadians. The study is based on qualitative interviews with young men and women whose parents migrated from countries in sub-Saharan Africa, who are racialized as black, and who grew up in metro Vancouver. Although the second-generation embodies the usual markings of local accents and place-based knowledge, other residents frequently question their origins in the belief they cannot be local. These interactions make it clear that the presence of a black body is seen as out of place rather than at home and shapes negotiation of identities as Canadian, African and black.