What do we do when we view a work of art? What does it mean to have an 'aesthetic' experience? Are such experiences purely in the eye of the beholder? This book addresses the nature of aesthetic experience from the perspectives of philosophy psychology and neuroscience.

The Aesthetic Mind breaks new ground in bringing together empirical sciences and philosophy to enhance our understanding of aesthetics and the experience of art. An eminent international team of experts presents new research in philosophy, psychology, neuroscience, and social anthropology: they explore the roles of emotion, imagination, empathy, and beauty in this realm of human experience, ranging over visual and literary art, music, and dance. Among the questions discussed are: Why do we engage with things aesthetically and why do we create art? Does art or aesthetic experience have a function or functions? Which characteristics distinguish aesthetic mental states? Which skills or abilities do we put to use when we engage aesthetically with an object and how does that compare with non-aesthetic experiences? What does our ability to create art and engage aesthetically with things tell us about what it is to be a human being? This ambitious and far-reaching volume is essential reading for anyone investigating the aesthetic and the artistic.

Exploration of the concepts surrounding the Aboriginal Dreamtime - or The Dreaming - from a Western perspective. Examines a range of existing literature on Aboriginal cosmology and spiritual practices, as well as studies of Aboriginal art, anthropological and ethnomusicological data, and statements from a diverse geographical sphere of Aboriginal people. Includes notes, bibliography and index. Author is a Senior Lecturer in the Department of Studies in Religion at the University of Queensland. She has previously written 'Witchcraft and Paganism in Australia'.

An examination of Japanese contemporary art through the lens of ecocriticism and environmental history Collectively referred to by the word tsuchi, earthy materials such as soil and clay are prolific in Japanese contemporary art. Highlighting works of photography, ceramics, and installation art, Bert Winther-Tamaki explores the many aesthetic manifestations of tsuchi and their connection to the country’s turbulent environmental history, investigating how Japanese artists have continually sought a passionate and redemptive engagement with earth. In the seven decades following 1955, Japan has experienced severe environmental degradation as a result of natural disasters, industrial pollution, and nuclear irradiation. Artists have responded to these ongoing catastrophes through modes of “mudlarking” and “muckracking,” utilizing raw elements from nature to establish deeper contact with the primal resources of their world and expose its unfettered contamination. Providing a comparative assessment of more than seventy works of art, this study reveals Japanese artists’ engagement with a richly diverse repertoire of earthy materialities, elucidating their aesthetic properties, changing conditions, and cultural significance. By focusing on the role of tsuchi as a convergence point for a wide range of creative practices, this book offers a critical reassessment of contemporary art in Japan and its intrinsic relationship to the environment. Situating art within the context of ecology and urbanization, Tsuchi shows artists striving to explore and reprocess raw forms of earth beneath the corruptions of human activity.

This book draws on the work of anthropologist Alfred Gell to reinstate the importance of the object in art and society. Rather than presenting art as a passive recipient of the artist's intention and the audience's critique, the authors consider it in the social environment of its production and reception. A Return to the Object introduces the historical and theoretical framework out of which an anthropology of art has emerged, and examines the conditions under which it has renewed interest. It also explores what art 'does' as a social and cultural phenomenon, and how it can impact alternative ways of organising and managing knowledge. Making use of ethnography, museological practice, the intellectual history of the arts and sciences, material culture studies and intangible heritage, the authors present a case for the re-orientation of current conversations surrounding the anthropology of art and social theory. This text will be of key interest to students and scholars in the social and historical sciences, arts and humanities, and cognitive sciences.

The anthropology of art is a fast-developing area of intellectual debate and academic study. This beautifully illustrated volume is a unique survey of the current state of anthropological thinking on art and aesthetics. The distinguished contributors draw on contemporary anthropological theory and on classic anthropological topics such as myth and ritual to deepen our understanding of particular aesthetic traditions in their socio-cultural and historical contexts. Many of the essays present new findings based on recent field research in Australia, New Guinea, Indonesia, and Mexico; while others draw on classical anthropological accounts of the Trobriand Islanders of Melanesia and the Nuer of the Southern Sudan to form new arguments and conclusions. The introductory overview of the history of the anthropology of art, by Sir Raymond Firth, makes this volume especially useful for those interested in learning what anthropology has to contribute to our understanding of art and aesthetics in general.

Large, bold, and colorful, indigenous Australian art—sometimes known as Aboriginal art—has made an indelible impression on the contemporary art scene. But it is controversial, dividing the artists, purveyors, and collectors from those who smell a scam. Whether the artists are victims or victors, there is no denying the impact of their work in the media, on art collectors and the art world at large, and on our global imagination. How did Australian art become the most successful indigenous form in the world? How did its artists escape the ethnographic and souvenir markets to become players in an art market to which they had historically been denied access? Beautifully illustrated, this full stunning account not only offers a comprehensive introduction to this rich artistic tradition, but also makes us question everything we have been taught about contemporary art.

Thirty years ago Australian Aboriginal art was little more than a footnote to world art. Today, it is considered to be an important contemporary art movement, often promoted as being connected to a deep cultural past. Becoming Art provides a new analysis of the shifting cultural and social contexts that surround the production of Aboriginal art. Transcending the boundaries between anthropology and art history, the book draws on arguments from both disciplines to provide a unique interdisciplinary perspective that places the artists themselves at the centre of the argument.Western art history has traditionally regarded Aboriginal art as distanced from time and place. Becoming Art uses the recent history of Aboriginal art to challenge some of the presuppositions of western art discourse and western art worlds. It argues for a more cross-cultural perspective on world art history.

Ethnographic and archaeological records feature a rich body of data suggesting that understandings of the mineral world are in fact both culturally variable and highly diverse. Soils, Stones and Symbols highlights studies from the fields of anthropology, archaeology and philosophy that demonstrate that not all individuals and societies view minerals as commodities to be exploited for economic gain, or as passive objects of disembodied scientific enquiry. In visiting such diverse contexts as contemporary India, colonial-period Australia and prehistoric Europe and the Americas, the papers in this volume demonstrate that in pre-industrial societies, minerals are often symbolically meaningful, ritually powerful, and deeply interwoven into not just economic and material, but also social, cosmological, mythical, spiritual and philosophical aspects of life. In addressing the theme of the mineral world, this book is not only unique within the social and geo-sciences, but also at the forefront of recent attempts to demonstrate the importance of materiality to processes of human cognition and sociality. It draws upon theoretical developments relating to meaning, experience, the body, and material culture to demonstrate that studies of rock art, landscapes, architecture, technology and resource use are all linked through the minerals that constantly surround us and are the focus of our never-ending attempts to understand and transform them.

Yolngu art as a communication system encoding meaning as form; relation of art to the systems of clan organisation and restricted (secret) knowledge; contact history and social contexts of art production; iconography of clan paintings; response to the art market; social organisation rights to land and law; marriage and kinship; rights to paintings; knowledge system - structure, inclusiveness, power, secrecy; role of paintings in ceremonies - burial rituals; range of meanings associated with paintings - examples used in ceremonies associated with the Wawilak Sisters and ancestral shark images; graphic components of painting - figurative and geometric, clan designs; chronological change - the Donald Thomson Collection, past and contemporary categories of painting, commercial art; iconographic analysis of Manggalili clan paintings; relation of events in painting to Yolngu cosmology - creative powers , life and death, male and female dualities.