Visual art — representational imagery — begins somewhere between fifty and one-hundred thousand years ago, overlapping with the Upper Paleolithic Transition. The period consists of rapid gains in tool technologies alongside the beginnings of modern symbolic thought, with human societies developing currency systems, dispersed social organizations, and increasingly sophisticated religious belief.
To Alva Nöe, writing in 2015’s Strange Tools: Art and Human Nature, the religious and social practices which began in this era, such as funerary rites, rites of passage, religious ceremony, symbolic adornment, and complex linguistic interactions, are examples of organized activities, “evolving patterns of organization” within which humans are embedded. Modern examples include driving a car in a highway system or navigating the complexities of workplace protocol — both being situations where we act improvisationally, within sets of constraints, and using established scripts, pre-determined by the situation’s structural context. Continue reading “Predictive Processing & Art as Cognitive Remodeling”
Pictured above, the Krebs Cycle of Creativity, just to toss another conceptual carving into the mix.
My post from earlier this week, “Art as the Antithesis of Design,” received a fair amount of pushback. Continue reading “Art vs. Design, a follow-up”
From the footnotes of an upcoming piece examining predictive processing and Alva Nöe’s 2015 work on aesthetics, Strange Tools:
Nöe makes [his] argument through exclusion: art practices which are not interrogative, which do not challenge existing structures and practices are not, technically speaking, art. Pop songs, to Nöe, aren’t musical art, they’re a first-level human practice (or “organized activity”) called “song-making.” Choreography can be art, but “dancing” as practiced by amateurs and many professionals is an organized activity. Continue reading “Art as the Antithesis of Design”
by Suspended Reason w/ James Wood
In Antonioni’s film L’eclisse, the luminous Monica Vitti visits the Rome stock exchange, where her fiance, played by Alain Delon, works. Delon points out a fat man who has just lost 50 million lire. Intrigued, she follows the man. He orders a drink at a bar, barely touches it, then goes to a cafe, where he orders an acqua minerale, which he again barely touches. He is writing something on a piece of paper, and leaves it on the table. We imagine that it must be a set of furious, melancholy figures. Vitti approaches the table, and sees that it is a drawing of a flower. Continue reading “On the Erotics of Intepretation”
I do not watch baseball, though many of my favorite passages and anecdotes are inspired by the sport. There is DeLillo, of course, in his prologue to the monumental Underworld, whose opening line — He speaks in your voice, American, and there’s a shine in his eye that’s halfway hopeful. — remains one of the best ever written.¹ Continue reading “Alva Noë & Baseball”
"Tools are useful only against the background of our needs and capacities. Let’s return to the doorknob. A simple bit of technology, yes, but one that presupposes a vast and remarkable social background. Doorknobs exist in the context of a whole form of life, a whole biology—the existence of doors, and buildings, and passages, the human body, the hand, and so on. A designer of doorknobs makes a simple artifact, but does so with an eye to its mesh with this larger cognitive and anthropological framework." (99) Continue reading “Excerpts from Alva Nöe’s Strange Tools”