Honeybees can discriminate between Monet and Picasso paintings

Honeybees (Apis mellifera) have remarkable visual learning and discrimination abilities that extend beyond learning simple colours, shapes or patterns. They can discriminate landscape scenes, types of flowers, and even human faces. This suggests that in spite of their small brain, honeybees have a highly developed capacity for processing complex visual information, comparable in many respects to vertebrates. Here, we investigated whether this capacity extends to complex images that humans distinguish on the basis of artistic style: Impressionist paintings by Monet and Cubist paintings by Picasso. We show that honeybees learned to simultaneously discriminate between five different Monet and Picasso paintings, and that they do not rely on luminance, colour, or spatial frequency information for discrimination. When presented with novel paintings of the same style, the bees even demonstrated some ability to generalize. This suggests that honeybees are able to discriminate Monet paintings from Picasso ones by extracting and learning the characteristic visual information inherent in each painting style. Our study further suggests that discrimination of artistic styles is not a higher cognitive function that is unique to humans, but simply due to the capacity of animals—from insects to humans—to extract and categorize the visual characteristics of complex images.     

L.S. Vygotsky and the Theater

The article presents the analysis of L.S. Vygotsky's works dedicated to the theater arts and is organized according Vygotsky's different life and work stages. Meanwhile special attention is paid to the Gomel period during which a large number of reviews were written by Vygotsky and published in “Nash ponedel'nik” and “Polesskaia pravda” newspapers. Biographical facts are widely used in this analysis and help to clarify Vygotsky's interest in art. It is shown that even at the beginning of his oeuvre, he was interested not only in a range of problems in art, but also psychological problems related to art perception and creativeness. Vygotsky's usage of structural concept ideas about the peculiar properties of literary text composition are also explored. Vygotsky analyzes the socio-psychological mechanisms of theatrical art effect. Furthermore, those areas which are widely used by Vygotsky in determining the characteristics of cast reincarnation are examined. Special emphasis is placed on the different elements of the actor techniques (speech, movement, emotional expression, acting personality and etc.). Materials are widely used in this study and help identify the socio-cultural context that defined Vygotsky's values at different stages of his work, related to his drama criticism and his formation as a professional psychologist.     

Les origines de l’art et les théories sur l’évolution humaine : le cas français

In recent years, we have witnessed an international debate about the question of the origins of art. On the one hand, some specialists have suggested that art appeared for the first time at the beginning of the Upper Paleolithic associated to the emergence of Homo sapiens sapiens. From this point of view, Paleolithic art as well as other hallmarks of behavioral modernity were exclusive to anatomically modern humans. On the other hand, some scholars have put into question the traditional paradigm concerning the origins of art and have suggested that artistic objects arose over a long period of time among different species, including Neanderthals. In order to contextualize this debate, we analyze in this article the history of the different interpretations and controversies concerning the question of the origins of art. Taking as reference the French case, we examine the connections between the different theories about art's origins suggested by Pleistocene art specialists during the last century and the dominant paradigms in human paleontology during the same period. Informed by one another, the question of the origins of art and that of human evolution seems to be inextricable linked.     

Ontogeny, anatomy, and the problem of homology: Carl Gegenbaur and the American tradition of cell lineage studies

Summary In this paper we analyze Carl Gegenbaur’s conception of the relationship between embryology (“Ontogenie”) and comparative anatomy and his related ideas about homology. We argue that Gegenbaur’s conviction of the primacy of comparative anatomy and his careful consideration of caenogenesis led him to a more balanced view about the relationship between ontogeny and phylogeny than his good friend Ernst Haeckel. We also argue that Gegenbaur’s ideas about the centrality of comparative anatomy and his definitions of homology actually laid the conceptual foundations for Hans Spemann’s (1915) later analysis of homology. We also analyze Gegenbaur’s reception in the United States and how the discussions between E.B. Wilson and Edwin Conklin about the role of the “embryological criterion of homology” and the latter’s argument for an even earlier concept of cellular homology reflect the recurring theme of preformism in ontogeny, a theme that finds its modern equivalent in various genetic definitions of homology, only recently challenged by the emerging synthesis of evolutionary developmental biology. Finally, we conclude that Gegenbaur’s own careful methodological principles can serve as an important model for proponents of present day “evo-devo”, especially with respect to the integration of ontogeny with phylogeny embedded in comparative anatomy.     

(R)evolutionary aesthetics: Denis Dutton’s <Emphasis Type="Italic">The art instinct: beauty,pleasure and human evolution</Emphasis>

Denis Dutton’s “The Art Instinct” succeeds admirably in showing that it is possible to think about art from a biological point of view, and this is a significant achievement, given that resistance to the idea that cultural phenomena have biological underpinnings remains widespread in many academic disciplines. However, his account of the origins of our artistic impulses and the far-reaching conclusions he draws from that account are not persuasive. This article points out a number of problems: in particular, problems with Dutton’s appeal to sexual selection, with his discussion of the adaptation/by-product distinction and its significance, and with drawing normative conclusions from evolutionary hypotheses.     

Histological studies of the dorsal nasal,Angularis Oculi,and facial veins of sheep (Ovis aries)

Selective brain cooling (SBC) requires vasoactivity in the superficial veins of the face of the animal. This vasoactivity is possible because of an adequate amount of smooth muscle in the tunica media of each of these superficial vessels, enabling it to act as a “muscle sphincter.” In this study, the angularis oculi, dorsal nasal, distal, and proximal parts of the facial veins in sheep were examined histologically to describe an anatomical basis for SBC. Measurements of the tunica media thickness, the lumen diameter, and the ratio of these measurements showed that the relative tunica media thicknesses in the angularis oculi vein and the dorsal nasal vein are statistically smaller (P < 0.001) than in the distal or the proximal parts of the facial vein. In the angularis oculi, dorsal nasal, and distal part of the facial vein, the tunicae mediae were composed of five to seven circularly arranged smooth muscle layers, suggesting their ability to vasoconstrict. The proximal part of the facial vein possesses both circularly and longitudinally arranged smooth muscle layers. The circular smooth muscle layers suggest a vasoconstrictory function, whereas the longitudinal smooth muscle layers imply a vasodilatory function in this part of the facial vein. Both the dorsal nasal and the proximal part of the facial vein, but not the angularis oculi or the distal part of the facial vein, possess endothelial valves near their confluences with other veins. It was concluded from this study that the angularis oculi and the distal part of the facial vein vasoconstrict, whereas the proximal part of the facial vein vasodilates, enabling the necessary changes in blood flow in SBC. J. Morphol. 237:275–281, 1998. © 1998 Wiley-Liss, Inc.     

Haeckel und das Schöne in der Natur

The influential evolutionary biologist Ernst Haeckel (1834–1919), well‐known as a highly disputatious defender of Darwin's work, sought to unite science, philosophy, ethics and art in an all‐embracing world view that he called ?monism“. In this essay his ideas and reflections on aesthetics in nature and their application are reviewed. According to Haeckel, art should be based on motifs that are to be found in the diversity of life forms, which represent, in his opinion, the highest imagineable specification in aesthetics. Beauty in nature should open men's way to nature, and man must not place himself in opposition to nature. Haeckel himself, who was also a gifted artist, helped find the way to such an attitude by publishing thousands of drawings of organisms, mostly microscopically small marine species. His illustrations made organismic structures accessible that a broader public was previously almost unaware of. With these representations he was most influential in almost all areas of art around the turn of the century, including architecture, interior design, painting, glass art and furniture design.     

Art and Agency: A Reassessment

In his book, Art and agency , Alfred Gell presents a theory of art based neither on aesthetics nor on visual communication. Art is defined by the distinctive function it performs in advancing social relationships through 'the abduction of agency'. Art objects are indexes of the artist's or model's agency. This article examines Gell's use of agency, particularly in relation to the ritual art that is central to his argument. Focusing on Gell's employment of Peirce's term 'index' (out of his triad of index, icon, and symbol), I note that Peirce's approach deflects attention from signification towards the link between art works and the things to which they refer. I consider what Peirce meant by abduction, and conclude that while Gell makes a good case for the agency of art objects he does not explain the distinctive ways in which art objects extend their maker's or user's agency. Gell lacked the time to make detailed revisions before publication and I acknowledge that, given more time, he might have revised some parts of the book.     

The doctor and the "delta factor": Walker Percy and the dilemma of modern medicine

As medical science progresses, a tension has developed between the art of medicine, which deals with patients as individual persons, and the science itself, which focuses on the objective pathology.This tension is furthered as medicine identifies itself increasingly with science. To explore the consequences of this unbalanced identification, and the strain it places on the physician-patient relationship, this article examines the thought of Walker Percy, and in particular his novel The Second Coming. In this novel, Percy, a physician by training, presents a case of a patient suffering at the hands of medicine-turned-reductionist. The novel highlights the breakdown of communication between physician and patient within modern medicine, and raises important questions about how to best understand, and thereby preserve, medicine's true art.     

The speech of reality and the speech of the stage: life, science and art

Word is the most frequent way of communication in the human experience. As a mean of communication it influences the sentence formulation, which ought to be the autochthonous expression of thoughts. The experience teaches us that it is necessary to be a sovereign master of our own thoughts and of sentiments of others. This is one of the fundamental postulates of the communication in the word category. To speak correctly means to think correctly and that, on the other hand, means in the grammatical, lexical and stylistic aspect to be able to create a sentence as a way of getting across the thoughts, ideas and contents of the spirit. The community mentality, the person's characteristics (the temper, the type and the intensity), the education level, the range of the knowledge and the volume of their potentially creative synthesis determine the lexical richness and the amplitude of the use and the application of the language with the aim of establishing a high quality communication with words as a basic mean of that process. Within this context a word has its impressive and expressive dimensions. Its impressive dimension is created by the common reliance on the frequency of the use of some lexical possibilities and their variations. It is an individual characteristic of the spoken and the written output of every person and it also determines the singularities of a person's style, to that extent that it helps to detect the author of a text with a high percentage of accuracy even in the cases where the author is unknown. The expressive value of a word denotes the author's level of thinking depending on the situation in which he uses the words to express his thoughts. In this sense the word is chosen with a different approach for the communication on a friendly or intimate level from an approach used in a communication on the official level or in a relation between the individual and the public. All this affirms the word as a mean that is individually chosen and used for the expression of the speaker's ideas, attitudes and points of view in the communication process, which reveals the characteristics and the speaker's level in all the named aspects of the word value assessment. In the case of evaluation., of the word through the experience of the on-stage speech, that is, the words in the experience of the theatre art, the approach to the value assessment is contrary to the assessment carried out in an everyday, real experience. In the artistic language the words are already given, the sentences are formulated and all this is determined by the author's will and the act of creation. The actor is the interpreter of the author, his ideas along with the characters of the protagonists and the spirit of the action and, therefore, he must gradually master the word to the extent where it seems spontaneous from the point of view of the impressive and expressive categories. It also has to sound similar to the natural speech and its suggestive influence. With this counter-natural direction of the treatment of the given word it is important to reach the level of spontaneity of the expression to an almost documentary form in the overall verbal-scenic-mimic articulation. In this process the life and the art mesh and the art illustrates and defends the life.     

The plasmids of the morels: characterization and prerequisites for vector development

Summary In several Morchella species linear dsDNA plasmids have been discovered and analyzed. Two linear plasmids of the strain Morchella conica 3 analyzed in detail are associated with the mitochondria but not as an integrative part of the high molecular weight mt DNA. In addition, homologies between different plasmids from different species could be detected. These homologies extend to all parts of the plasmids. Differences in size are due to different lengths of nonhomologous inner parts rather than to differences at the termini. Fragments comprising the entire plasmids were cloned into bacterial vectors and a selectable marker gene for eukaryotes was added to the resulting hybrid plasmids. Transformation of yeast led to the identification of autonomously replicating sequences, this being a prerequisite for the development of autonomously replicating vectors for Morchella.Dedicated to Prof. Dr. H.-J. Rehm on the occasion of his 60th birthday     

Building on Bedrock: William Steel Creighton and the Reformation of Ant Systematics, 1925–1970

Ideas about the natural world are intertwined with the personalities, practices, and the workplaces of scientists. The relationships between these categories are explored in the life of the taxonomist William Steel Creighton. Creighton studied taxonomy under William Morton Wheeler at Harvard University. He took the rules he learned from Wheeler out of the museum and into the field. In testing the rules against a new situation, Creighton found them wanting. He sought a new set of taxonomic principles, one he eventually found in Ernst Mayr's Systematics and the Origin of Species. Mayr's ideas tied together a number of themes running through Creighton's life: the need for a revised taxonomy, the emphasis on fieldwork, and the search for a new power center for ant taxonomy after Wheeler died. Creighton's adoption of Mayr's ideas as part of his professional identity also had very real implications for his career path: field studies required long and intensive studies, and Creighton would always be a slow worker. His method of taxonomy contrasted sharply not only with Wheeler's but also with two of his younger colleagues, William L. Brown and E. O. Wilson, who took over Wheeler's spot at Harvard in 1950. The disputes between these men over ant taxonomy involved, in addition to questions of technical interest, questions about where and how best to do taxonomy and who could speak withthe most authority. Creighton's story reveals how these questions are interrelated. The story also reveals the importance of Mayr's book for changes occurring in taxonomy in the middle of the twentieth century. This revised version was published online in July 2006 with corrections to the Cover Date.     

Science and craftsmanship: the art of experiment and instrument making

In his two-volume monograph Untersuchungen über thierische Elektricit?t, the Berlin physiologist Emil du Bois-Reymond described the relation between nervous electricity and muscle mechanics by way of a long series of experiments. This work is a key text in the history of the experimental life sciences. But it not only contains new findings about the functioning of muscles and its nerves. Du Bois-Reymond practiced an art of experimentation in which aesthetics of mechanical craftsmanship allied itself with the science of physiology. Experimentation, as du Bois-Reymond understood it, was simultaneously an epistemic and an aesthetic practice. The goal of his science was thus producing both knowledge and aesthetic success.     

Beyondism: Raymond B. Cattell and the new eugenics

A significant confusion has arisen out of the mass of work done on the history of eugenics in the last two decades. Early scholars of the subject treated eugenics as a marginalized or obsolete movement of the radical right. Subsequent research has shown that eugenic ideas were adopted in diverse national settings by very different groups, including – among others – liberals, communists and Catholics, as well as radical rightists. This complexity is sometimes taken to mean that eugenics has no special ideological associations, that it is historically and potentially a beast of a thousand heads. It is not. Although people of varied ideological commitments have been attracted to eugenics, ideologues of the radical right, and above all interwar fascists, have been uniquely and centrally involved in its development. Fascism and the radical right are also complex entities, but for all the heterogeneity of both eugenics and fascism, the special historical relationship between the two cannot be ignored. This relationship is exemplified in the work of the influential psychologist, Raymond B. Cattell. Cattell was an early supporter of German national socialism and his work should be understood in the context of interwar fascism. The new religious movement that he founded, ‘Beyondism’, is a neo-fascist contrivance. Cattell now promulgates ideas that he formulated within a demimonde of radical eugenists and neo-fascists that includes such associates as Revilo Oliver, Roger Pearson, Wilmot Robertson and Robert K. Graham. These ideas and Cattell's role in the history of eugenics deserve deeper analysis than they have hitherto received. Far from being of merely antiquarian interest, his work currently encourages the propagation of radical eugenist ideology. It is unconscionable for scholars to permit these ideas to go unchallenged, and indeed honored and emulated by a new generation of ideologues and academicians whose work helps to dignify the most destructive political ideas of the twentieth century. This revised version was published online in August 2006 with corrections to the Cover Date.     

Canal systems in the temporal bone and their right-left differences

The first part of the facial canal is the pars labyrinthica. Its means lateral length is in our material 2.63 mm on the right and 3.03 mm on the left side. The mean width of the pore on the fundus area was 1.3 mm on the right side and 1.07 mm on the left. The geniculate fossa had a mean length of 2.54 mm on the right and of 3.14 mm on the left side. The widths of different areas of the pars labyrinthica and fossa geniculata were also measured. The angle between the first and second parts of the Fallopian canal was estimated with different methods. The mean width of the tympanic part of the facial canal was found to be 1.79 mm on the right side and 1.67 mm on the left, the mean width of the mastoideal part was 1.8 mm on the right side and 1.7 mm on the left. Distances of the mastoideal part of the Fallopian canal to mastoideal cells, ear drum, sigmoid sinus and external surface of the temporal bone were also measured. Measurements of the sigmoid sinus, the bulb of internal jugular vein and the cavum musculi stapedii are included, too. The ranges found in our material are also given.     

Signature work: Bandung, 1994

Recent statements on globalization, the social life of objects, and the open‐endedness of self‐definition offer fresh angles of approach in the ethnographic apprehension of contemporary art worlds. They are brought together here in an exploration of art forgeries, connoisseurship, value, and exchange in Bandung, Indonesia. Modernist ideas about art, authenticity, and painterly subjectivity not only inform the expert systems that oversee the ‘artness of art’ but also give rise to troubling anxieties and desires associated with ‘originals’ and fakes.’ The efforts of Indonesian painter A. D. Pirous to prevent forgeries of his work from reaching the market throw special light on the difficulties experienced in containing the illusions and confusions of art value. The predicaments are both intimate and global in dimension.     

Self-Portraits: Smartphones Reveal a Side Bias in Non-Artists

According to surveys of art books and exhibitions, artists prefer poses showing the left side of the face when composing a portrait and the right side when composing a self-portrait. However, it is presently not known whether similar biases can be observed in individuals that lack formal artistic training. We collected self-portraits by naïve photographers who used the iPhone™ front camera, and confirmed a right side bias in this non-artist sample and even when biomechanical constraints would have favored the opposite. This result undermines explanations based on posing conventions due to artistic training or biomechanical factors, and is consistent with the hypothesis that side biases in portraiture and self-portraiture are caused by biologically- determined asymmetries in facial expressiveness.     

Darwin,Wallace, and Huxley,and Vestiges of the Natural History of Creation

Conclusion Publication of the Vestiges and the rather primitive theory of evolution it expounded thus played a significant role in the careers of Darwin and Wallace. In addition, in spite of his poor opinion of the Vestiges, it presented Huxley with a convenient topic for critical discussion and the opportunity to focus more attention on the subject of evolution. The dynamic interactions among these leading figures of nineteenth-century natural science helped spur the development of more sophisticated models of evolution.Darwin had a proper appreciation of Chambers's contribution to evolutionary thought, although he fully recognized the shortcomings of this work. He understood the importance of allowing fresh ideas about organic change to be ventilated. However, he was primarily concerned with his own theory and viewed all developments in evolutionary biology from this perspective. If he did not give full consideration to Chambers and his book early on, it was due mainly to his feeling that the concepts in the Vestiges were very different from his own; he was therefore reluctant to embrace them as the forerunners of his own theory. As a scholar, he was also troubled by the scientific errors in the book. However, the record demonstrates that he attempted to make amends for any oversight on his part. His generous letter to Chambers's daughter, and his gracious treatment of Chambers during the brief time the latter lived in London, are ample proof of that.The attacks of Huxley, Sedgwick, and other prominent natural historians and geologists at the time, the problems inherent in Chambers's evolutionary theory, and the publication of the Origin, are the major reasons why the Vestiges became a neglected work. Nevertheless, Chambers's contribution will always stand out because, together with those of other late eighteenth- and early nineteenth-century predecessors of Darwin, it laid the foundations of modern evolutionary thought and, more importantly, helped prepare the scientific community for the more fully developed ideas of Darwin and Wallace.     

L’ambiguïté entre l’homme et l’animal dans les représentations artistiques à Nevali Çori

In Nevali Çori, artistic representations appear in the form of statues, figurines, human head, and heads in the round. Regarding art, Nevali Çori occupies a distinguished place, because, most of the time, artistic representations almost all have specific characteristics different from the others. The artistic representations that present the human have the characteristics of a man but they deviate from it by certain characteristics such as the absent of limbs and the way of representing. There are almost non-examples that present a human who has not undergone a transformation. Sometimes the peculiarities of man mingle with those of animals; sometimes certain details do not find a place in art.