Ethno-aesthetics is the study of art by focusing on the cultural context. Ethno-aesthetics does not just look at art, but includes specific cultural ideals and beliefs that might have influenced the artists, or been important to the audience. So in turn ethno-aesthetics analysis is when people use the culture of an artist to try to understand the piece, essentially looking at the art within its original context.
In August, when we were trying to define art Rebecca brought up the question that if a piece was not considered art by its creator(s), if it could be considered art by different audiences, losing its original cultural context. Cultural relativism an important part of ethno-aesthetic analysis, looking at the art under the terms of the culture, the artist, and usually the intended audience. Obviously when studying art, everyone does not include the aspect of ethno-aesthetic analysis, usually just thinking of the context the art has for them.
When doing an ethno-aesthetic analysis one can obtain a deeper and more accurate concept of the art, the artist and even the culture itself. All of these types of things are the strengths of ethno-aesthetic analysis, but like everything, it also has weaknesses. Even though ethno-aesthetic analysis is considered to be a way to broaden our horizons, it can sometimes be considered to be in a smaller scope of knowledge than one would think. Most ethno-aesthetic analysis take place in small scale societies, and focuses on the specific society, not the hybridization, mixing together of multiple societies from interactions and on going relations.
A good example of this is when looking at the telephone wire baskets that Rebecca showed us from Africa. Obviously these materials were not always available to the indigenous cultures that are now making them daily. The wires are extremely colorful and vibrant, but they share no significant means to the artists or culture they are created in; though many tourists or even just outsiders do. This is where just using ethno-aesthetic analysis might not give the whole context of these baskets, because the context of them comes mostly from hybridization within this culture.
Saturday, November 5, 2011
Friday, October 14, 2011
"Making Sense"?
Making sense” of anything is a hard task to accomplish, because there is so much information and data that an audience may not have at hand. This is even more evident when trying to interpret or “make sense” a creation when the people and culture of it are long past, specifically cave paintings. This is because there is certain data, that can only now be obtained from the interpretation of the audience, more specifically the archeologists. The problem here though, is that these are just educated guesses at best, by themselves, but there are other pieces of data that can higher the percentage of a correct interpretation.
Obviously the biggest reason for “making sense” of cave paintings, is to try to figure out what the uses for them may have be to our ancient ancestors, show that we may obtain more insight to their way of life, their culture, and their history. They took great consideration when considering what caves to use, both from a practical stand point as well as what could be seen as aesthetic or theatrical purpose. We may never know for sure, though. The same could be said about the placement of the paintings and the use of the surfaces, and the specific rooms, as I talked about in last weeks post. I think these considerations are important when trying to “make sense” of any art, but even more so for the art of cultures that are not hear to give us all the answers. These parts of the data, including the size of each work, the subjects used, the placement of each piece, the use of the area, the relationships between each work, and so many other pieces of ethological data.
When looking at this data, it has been in popular opinion that the cave paintings are religious in nature. It has also been considered that there were a type of record keeping, since they had no written language (that we know of) at this time; so the paintings were a way for them to record maybe their observations, lessons to pass on, their experience in life, etc. There are a few other hypothesis’, but I think these are the two that have the most credence. Or rather, I think the two of them together can best explain the evidence and data that we have been able to find. The one thing we can know for sure is that these paintings were important to their culture in some way or another. When “making sense” of anything, one has to consider the context the data is found in as well. All these things are important to know, and think about, as archeologists continue on their mission of “making sense” prehistoric art, particularly cave paintings.
Obviously the biggest reason for “making sense” of cave paintings, is to try to figure out what the uses for them may have be to our ancient ancestors, show that we may obtain more insight to their way of life, their culture, and their history. They took great consideration when considering what caves to use, both from a practical stand point as well as what could be seen as aesthetic or theatrical purpose. We may never know for sure, though. The same could be said about the placement of the paintings and the use of the surfaces, and the specific rooms, as I talked about in last weeks post. I think these considerations are important when trying to “make sense” of any art, but even more so for the art of cultures that are not hear to give us all the answers. These parts of the data, including the size of each work, the subjects used, the placement of each piece, the use of the area, the relationships between each work, and so many other pieces of ethological data.
When looking at this data, it has been in popular opinion that the cave paintings are religious in nature. It has also been considered that there were a type of record keeping, since they had no written language (that we know of) at this time; so the paintings were a way for them to record maybe their observations, lessons to pass on, their experience in life, etc. There are a few other hypothesis’, but I think these are the two that have the most credence. Or rather, I think the two of them together can best explain the evidence and data that we have been able to find. The one thing we can know for sure is that these paintings were important to their culture in some way or another. When “making sense” of anything, one has to consider the context the data is found in as well. All these things are important to know, and think about, as archeologists continue on their mission of “making sense” prehistoric art, particularly cave paintings.
Friday, October 7, 2011
The importance of location
“Lascaux was carefully chosen as the proper place for these elaborate paintings (92).”
In the beginning of chapter 4, Gregory Curtis discusses the fact that the artists were very aware of their surroundings, which I really enjoy. For cave paintings the surface of the rock, the placement of the cave, the sizes of each alcove, the surrounding area and many other important natural aspects would have been considered by the artist, the placement was just as important as the actual cave paintings. Our teacher Rebecca Roberts talked to us about her own experience with cave paintings and specifically a scene where a stampede of animals are painted and if the audience can envision the flickering of light from torches, then the stampede actually comes to life. To achieve this the artists would have been aware of each placement of each animal, and at what height to anticipate where the shadows of the light would have reached, to achieve the greatest appreciation.
I think that when most people think of cave paintings, the majority of the audience does not consider how much work the artists would have put into each cavern and into each individual painting. Sometimes they do not even consider the fact that these paintings would have had specific important uses in the cultures of the artist, they think of ‘primitive’ art as being unsophisticated and just entertainment for the artist. This is obviously completely untrue, just from the fact that there is evidence that “suggests that ancient people must have entered the cave and explored it sometime before the paintings were made (92).” This evidence shows that the ancient artists were scoping out their canvas before deciding if the caves would be acceptable for what they were intending. These paintings were important to them, and they did not take the picking of their canvas lightly.
The placement of the cave was important as well, more for a practical use. The cave “,like a cathedral built on a cliff above a village, looks out over all the surrounding countryside (93),” enabling the people using it to essentially maintain continual watch and observation. It may have even enabled them to make certain observations that would later become pieces of their art work. It also would have helped with hunting and staying safe. The cave was a vantage point safely tucked away from the outside world and its distractions. As Curtis states “the cave was perfectly suited to their needs and intentions (93),” and these are important aspects to be taken into account when creating archaeological interpretations in what uses these cave paintings may or may not have had in ancient culture.
In the beginning of chapter 4, Gregory Curtis discusses the fact that the artists were very aware of their surroundings, which I really enjoy. For cave paintings the surface of the rock, the placement of the cave, the sizes of each alcove, the surrounding area and many other important natural aspects would have been considered by the artist, the placement was just as important as the actual cave paintings. Our teacher Rebecca Roberts talked to us about her own experience with cave paintings and specifically a scene where a stampede of animals are painted and if the audience can envision the flickering of light from torches, then the stampede actually comes to life. To achieve this the artists would have been aware of each placement of each animal, and at what height to anticipate where the shadows of the light would have reached, to achieve the greatest appreciation.
I think that when most people think of cave paintings, the majority of the audience does not consider how much work the artists would have put into each cavern and into each individual painting. Sometimes they do not even consider the fact that these paintings would have had specific important uses in the cultures of the artist, they think of ‘primitive’ art as being unsophisticated and just entertainment for the artist. This is obviously completely untrue, just from the fact that there is evidence that “suggests that ancient people must have entered the cave and explored it sometime before the paintings were made (92).” This evidence shows that the ancient artists were scoping out their canvas before deciding if the caves would be acceptable for what they were intending. These paintings were important to them, and they did not take the picking of their canvas lightly.
The placement of the cave was important as well, more for a practical use. The cave “,like a cathedral built on a cliff above a village, looks out over all the surrounding countryside (93),” enabling the people using it to essentially maintain continual watch and observation. It may have even enabled them to make certain observations that would later become pieces of their art work. It also would have helped with hunting and staying safe. The cave was a vantage point safely tucked away from the outside world and its distractions. As Curtis states “the cave was perfectly suited to their needs and intentions (93),” and these are important aspects to be taken into account when creating archaeological interpretations in what uses these cave paintings may or may not have had in ancient culture.
Friday, September 23, 2011
In chapter six, Ellen Dissanayake talks about the connection of violent acts with the creation of art. On page 139, Dissanayake talks about Rollo May’s idea that “the impulses that drive some people to violence are the same impulses that drive the artist to create,” even though that the actually nature of both these are on the surface completely different. Dissanayake introduces the concept of comparing art and violence, with a connection between how some members of society view certain forms of art, with connections to immoral actions, in most cases including some form of violence. This can be seen repeatedly in the stereotypes that can be connected to musicians of specific genres. This reminds me of when I was younger and my mother would tell me the history behind rock and roll. She’d say that many people would actually blame an artist if an avid audience member committed a violent act; that they connected the violent emotions that an audience would receive to the violent act that they committed. These connections are really important when studying a society and their reactions to art, and how it can disturb their daily life and values.
This can also be seen from when Dissanayake, talks about the rituals and feelings that revolve around shamans. A shamanistic ritual is extremely focused on the audience; doing everything for the benefit of his/her audience, “Shamans rise to the challenge of the disturbing powers, inner and outer; by conquering them they also win over their audience (pg.138).” So it is important to see how the audience or society feels about the shaman and his rituals as a whole. With traditional traits there are traditional reactions in every society, “in being deviant they are on the one hand permitted to violate certain social norms,” because they are already expected to (pg.139).
This is the same with artists, depending on what type of art they create, and what common emotional response is associated with their pieces, will create a basis for how society thinks and deals with them. So, most music that is connected to violence is associated with sex, drug use and violence; and this is usually helped by the attitude and behavior of the artist themselves. I think these facts are what are used in the creation of an image, that will help intensify the audiences’ reactions to the artistic creation.
This can also be seen from when Dissanayake, talks about the rituals and feelings that revolve around shamans. A shamanistic ritual is extremely focused on the audience; doing everything for the benefit of his/her audience, “Shamans rise to the challenge of the disturbing powers, inner and outer; by conquering them they also win over their audience (pg.138).” So it is important to see how the audience or society feels about the shaman and his rituals as a whole. With traditional traits there are traditional reactions in every society, “in being deviant they are on the one hand permitted to violate certain social norms,” because they are already expected to (pg.139).
This is the same with artists, depending on what type of art they create, and what common emotional response is associated with their pieces, will create a basis for how society thinks and deals with them. So, most music that is connected to violence is associated with sex, drug use and violence; and this is usually helped by the attitude and behavior of the artist themselves. I think these facts are what are used in the creation of an image, that will help intensify the audiences’ reactions to the artistic creation.
Saturday, September 17, 2011
To Experience!!!!!
So I was not sure if we were suppose to talk about the definition of aesthetic experience with the help of Ellen Dissanayake; or if we were suppose to connect an example of our own aesthetic experience to Dissanayake’s definition. I’m just going to go with the enjoyable one, which might end up answering both anyways. I think I have had many aesthetic experiences, each of a different caliber, but just as ‘extraordinary’. One of my favorite things is reading, it has actually become an addiction that can get in the way of everyday life. I have actually lost count of how many individual books, novellas, graphic novels and comic books, that I have read in my life. Every time that I open a book and start on the first page, I am consumed. I have been over taken by the need to understand, the need to experience and the need to know what happens. I will do everything that I can to finish that book before the day ends, sometimes not even getting up to get food. I am engrossed in the story, the setting, the characters, the plot, the twists, but most importantly I am engrossed in the message. I am known to read any and all genres, it doesn’t really matter but a must have of any book is the message. To me a book with a message is just as strong as a painting with a message. This is where the aesthetic experience of reading comes from for me.
Ellen Dissanayake gives us the definition of an aesthetic experience as the ability “To experience something that is outside order and ordinary - which we can call extraordinary. There is an unquestioned human appetite for intensity, and though we can exist without them, intense emotions make us feel we are living.” Have you ever had a book that just gives you the chills as you read it, you are laughing and crying with the happiness and sadness of the characters involved? These things are a must for my reading experience, which helps it turn into an aesthetic experience. I have many books that I have even read over ten times already, and I still have such an emotional experience when I read them. As I said before, another big factor is if it has a message. I love books that have a strong message, including the genre of comic books. The have been some comic books that have just affected me so greatly, that I still connect other experiences to them.
So for me a great example of an aesthetic experience as Ellen Dissanayake is reading. To me, when reading an amazing book you can “experience something…we call extraordinary,” we can be transported to another life, another universe, or even another time. “Though we can exist without them,” we do not need to read books, we do not need what they give us to live; but they all can “make us feel we are living.”
Ellen Dissanayake gives us the definition of an aesthetic experience as the ability “To experience something that is outside order and ordinary - which we can call extraordinary. There is an unquestioned human appetite for intensity, and though we can exist without them, intense emotions make us feel we are living.” Have you ever had a book that just gives you the chills as you read it, you are laughing and crying with the happiness and sadness of the characters involved? These things are a must for my reading experience, which helps it turn into an aesthetic experience. I have many books that I have even read over ten times already, and I still have such an emotional experience when I read them. As I said before, another big factor is if it has a message. I love books that have a strong message, including the genre of comic books. The have been some comic books that have just affected me so greatly, that I still connect other experiences to them.
So for me a great example of an aesthetic experience as Ellen Dissanayake is reading. To me, when reading an amazing book you can “experience something…we call extraordinary,” we can be transported to another life, another universe, or even another time. “Though we can exist without them,” we do not need to read books, we do not need what they give us to live; but they all can “make us feel we are living.”
Friday, September 9, 2011
Art blog 3: "Making Special" project
Everyone has an ability of taking a mundane everyday object or activity and, as Ellen Dissanayake calls is, “making special”. Dissanayake uses this term to describe the act of making something more than it’s original purpose or function, by adding to an object or activity in some way. Dissanayake says that “making special’ is an act purely human, and that every human has the ability and desire to “make special” at some point or another. There are many examples of “making special” such as graffiti, room decoration, clothing, body pierces or tattoos, food presentation, and the list goes on. The key to “making special” is the intention of the individual, because it’s the extra meaning to the creator or audience that adds the aspect of “making special” to it.
Our mission this week was to either find past examples of “making special” in our personal space, or by “making special” something new. I found my piece of “making special” in my dorm room. This is my first time being truly away from home. So when packing for college I decided that I needed something that reminded me of special moments or people, as well as something that showed my personality. So I bought a corkboard and went through various pictures and mementos to find exactly what I wanted.
The items on this corkboard include pictures of family and friends: such as the two pictures of the adorable little girls, who are the children of close family friends, and the generation picture of my immediate family, which includes my mother, grandmother, my brother and myself. There are also memories of awesome moments such as the picture of me riding on an elephant with my little brother, and the small after junior prom party with one of my best friends. Even just special items, such as the valentines card I got from my boyfriend and a miniature sword that transformed me into a pirate for the night while another best friend and I fought to the death with our mini weapons. These things and even the ones that just represent my favorite things, such as the pretty koi fish ornament, the Oriental fan and the fairy sticker, are all important to me; and have helped in the “making special” of not only my corkboard but also my room.
Our mission this week was to either find past examples of “making special” in our personal space, or by “making special” something new. I found my piece of “making special” in my dorm room. This is my first time being truly away from home. So when packing for college I decided that I needed something that reminded me of special moments or people, as well as something that showed my personality. So I bought a corkboard and went through various pictures and mementos to find exactly what I wanted.
Friday, August 26, 2011
Art Blog 1: The big question "What is art?"
Hello, its nice to meet everyone. My name is Rachel Miller-Doyle. I am an anthropology major, with a minor in psychology, and later in education I will be including archeology.
So the question of the day is “what art means to you and what characteristics can you use to identify art?” Well, I’m not sure what art means to you guys, but I know what it means to me. Art to me means emotions, relationships, understanding, as well as many other things. When I think of art the first thing that comes to mind is emotion, not only of the creator and my own emotional reaction, but also the emotion of the piece. A specific art piece will have a significant relationship with either the creator, audience, or even more broadly with a culture that it came from or represents. Art is a way of communicating, sometimes it can be knowledge, experience, emotions, perspective, or all of these together that the artist may have wanted to pass on to someone else. Art is an outlet, in which case the piece could be seen more as a journal page, instead of a letter to prospective audiences. Art has a significant meaning to the artist, a culture, or the audience. Art can be a creation from an educated artist, or a drawing from my seven year old brother. It can be serenely beautiful or terrifyingly ugly. It can cause a mottle mix of emotional reaction, including shock, disgust, or anger. Art has something that is not really tangible or easy to articulate, it’s a feeling, a connection that is formed from observing a piece.
These important characteristics are the foundation for what art means to me, cause you can not have art without them. Basically art is a metaphysical extension of the artist, and that inside every piece of art, the artist gave it something of their selves, to make it more than it was; which is another characteristic of art, making an object more than it was.
I am hoping that I will get an understanding of art in an anthropological perspective. I want to know why some people feel that art is a part of the human condition. I would also like to learn what the academic sense of art is, and how it is represented in different cultures and time.
So the question of the day is “what art means to you and what characteristics can you use to identify art?” Well, I’m not sure what art means to you guys, but I know what it means to me. Art to me means emotions, relationships, understanding, as well as many other things. When I think of art the first thing that comes to mind is emotion, not only of the creator and my own emotional reaction, but also the emotion of the piece. A specific art piece will have a significant relationship with either the creator, audience, or even more broadly with a culture that it came from or represents. Art is a way of communicating, sometimes it can be knowledge, experience, emotions, perspective, or all of these together that the artist may have wanted to pass on to someone else. Art is an outlet, in which case the piece could be seen more as a journal page, instead of a letter to prospective audiences. Art has a significant meaning to the artist, a culture, or the audience. Art can be a creation from an educated artist, or a drawing from my seven year old brother. It can be serenely beautiful or terrifyingly ugly. It can cause a mottle mix of emotional reaction, including shock, disgust, or anger. Art has something that is not really tangible or easy to articulate, it’s a feeling, a connection that is formed from observing a piece.
These important characteristics are the foundation for what art means to me, cause you can not have art without them. Basically art is a metaphysical extension of the artist, and that inside every piece of art, the artist gave it something of their selves, to make it more than it was; which is another characteristic of art, making an object more than it was.
I am hoping that I will get an understanding of art in an anthropological perspective. I want to know why some people feel that art is a part of the human condition. I would also like to learn what the academic sense of art is, and how it is represented in different cultures and time.
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