How Art Made the World With Nigel Spivey Online
| How Art Made the Earth | |
|---|---|
| Genre | Documentary |
| Presented by | Nigel Spivey |
| Country of origin | United Kingdom |
| Original language | English language |
| No. of serial | 1 |
| No. of episodes | 5 |
| Product | |
| Executive producer | Kim Thomas |
| Producer | Mark Hedgecoe |
| Running fourth dimension | threescore minutes |
| Benefactor | BBC |
| Release | |
| Original network | BBC One |
| Original release | 26 June (2005-06-26) – 24 July 2005 (2005-07-24) |
How Art Fabricated the World is a 2005 five-part BBC Ane documentary series, with each episode looking at the influence of art on the current twenty-four hours situation of our social club.[1] [2]
"The essential premise of the show," according to Nigel Spivey, "is that of all the defining characteristics of humanity as a species, none is more basic than the inclination to make art. Cracking apes will smear pigment on canvas if they are given brushes and shown how, but they do not instinctively produce art any more than parrots produce conversation. We humans are lone in developing the capacity for symbolic imagery."[3]
Episodes [edit]
Images dominate our lives. They tell us how to behave, even how to feel. They mould and define us. Merely why do these images, the pictures, symbols and the art nosotros see around united states every day, have such a powerful hold on u.s.a.? The reply lies not here in our time only thousands of years ago. Because when our aboriginal ancestors outset created the images that made sense of their world, they produced a visual legacy which has helped to shape our own.
In this series we'll be travelling around the globe, discovering the world's most stunning treasures. Nosotros'll come across how the struggles of early artists led to the triumphs of the world'due south great civilisations. Our journey will take the states through a hundred thousand years of history. We'll be witnessing some of the extraordinary ceremonies of the world'due south oldest artistic cultures. And we'll reveal how they unlock the deepest secrets of ancient fine art, We'll be hearing from the people who fabricated these discoveries. And we'll be using science to uncover how thousands of years ago the man mind collection us to create astonishing images, You'll never look at our earth the same fashion again, for this is the epic story of how we humans fabricated art and how art made us human.
—Nigel Spivey'due south opening narration
Episode one: More Human Than Homo... [edit]
The kickoff episode asks why humans surround themselves with images of the body that are so unrealistic.[iv] [5]
The fact is people rarely create images of the trunk that are realistic. What'due south going on? Why is our world so dominated by images of the trunk that are and then unrealistic?
—Nigel Spivey's opening narration
Dr. Spive begins his investigation past travelling to Willendorf, where in 1908 three Austrian archaeologists discovered the Venus of Willendorf, an 11 cm (iv.three in) high statuette of a female effigy, estimated to take been fabricated between 24,000 and 22,000 BCE. Spivey travels to the Naturhistorisches Museum in Vienna to examine the Venus's grotesquely exaggerated breasts and abdomen, as well as its lack of arms and face, which shows the desire to exaggerate dates back to the very first images of the human being body created past our ancestors. Spivey speculates that, The people who fabricated this statue lived in a harsh ice-age surround where features of fatness and fertility would have been highly desirable, and several similar statuettes collectively referred to as Venus figurines evidence that this exaggerated body image continued for millennia.[vi]
Neuroscientist Vilayanur S. Ramachandran speculates that the reason for this lies in a neurological principle known as the supernormal stimulus, which Spivey demonstrates by replicating Nikolaas Tinbergen's experiment with Herring gull chicks. When the chicks are shown a xanthous stick with a single red line fabricated to represent their mother's bill, they tap on it as they are programmed to practise to demand food. Even so, when they are presented with a stick with three blood-red lines they tap on it with increased enthusiasm even in comparison to the original beak. Ramachandran concludes, "I retrieve there's an analogy hither in that what's going on in the brains of our ancestors, the artists who were creating these Venus figurines were producing grossly exaggerated versions, the equivalent for their encephalon of what the stick with the three ruby stripes is for the chick'southward brain."[7]
Spivey adjacent travels to Egypt to discover if the gross exaggerations of difficult-wired herring gull instincts of the nomadic artisans survived into the era of civilization. The Egyptian images of the homo body, which he discovers at the Tomb of Pharaoh Rameses VI and the Karnak Temple Circuitous, were regular and repeated, and nothing nigh them was exaggerated. Mapped onto the wall at the unfinished Tomb of Amenhotep Three's vizier Ramose he discovers the grid which dictated the precise proportions and limerick of these images for three 1000 years. The Egyptians created images of the torso this way, Spivy concludes, not because of how their brains were hard-wired but because of their civilisation. [8]
Spivey finally travels to Italia, where Stefano Mariottini relates his boggling discovery off the coast of Riace, well-nigh Reggio Calabria. As revealed in an antique copy of Herodotus in St John's Higher Old Library, Greek sculptors learned the Egyptians' techniques and initially created truly realistic depictions of the man torso, similar Kritian Boy at the Acropolis Museum in Athens, Greece. However, according to Ramachandran, the problem with the Kritian Boy is it was too realistic, that makes information technology slow, and the style was soon abased. Spivey states that, the Greeks discovered they had to do interesting things with the homo form, such every bit distorting information technology in lawful ways, and examines the pioneering piece of work of a sculptor and mathematician chosen Polyclitus, as exemplified in the Riace bronzes at the Museo Nazionale della Magna Grecia. Spivey concludes that the start civilization capable of realism had used exaggeration to go further, and it'south that instinct which even so dominates our world today. [9]
This is the reply to our mystery. This is why the bodies in our modern world await the style they do. The reality is we humans don't like reality. The shared biological instinct to prefer advisedly exaggerated images links usa inexorably with our ancient ancestors, and still what we cull to exaggerate is where science gets left behind. That's where the magic comes in.
—Nigel Spivey'south endmost narration
Episode ii: The Day Pictures Were Born [edit]
The second episode asks how the very outset pictures always made were created and reveals how images may accept triggered the greatest alter in human being history.[four] [ten]
I could draw almost anything in the earth and yous'd probably estimate what information technology was, Simply there must have been some betoken in our human story when we first got this power, some moment in time when nosotros began to create pictures and to understand what they meant. So what happened back then? How did we first get this ability to create images? To find the answer, we need to go way back in time.
—Nigel Spivey'south opening narration
Dr. Spivey begins his investigation by travelling to the Cave of Altamira near the town of Santillana del Mar in Cantabria, Kingdom of spain, where in 1879 a young girl'south exclamation of Papa. Look, oxen. to her father, local amateur archaeologist Marcelino Sanz de Sautuola, is explained to have meant that Maria had but become the showtime mod human to set eyes on the showtime gallery of prehistoric paintings ever to be discovered. The find revealed that, About 35,000 years ago, we began to create pictures and to understand what they meant. French priest Henri Breuil believed that, prehistoric artists painted animals to increment their chances of a successful hunt, but the animals painted here and at other sites such equally the Pech Merle in French republic, also visited past Spivey, did not match the bones discovered and abstract patterns revealed the artists weren't simply copying from real life.
Spivey next travels to the Drakensberg Mountains of South Africa, where stone painting made 200 years ago by the San people and similarly dismissed equally hunting scenes, are revealed by anthropologist David Lewis-Williams to contain many of the same unusual features. 19th century interviews with the San by German linguist Wilhelm Bleek reveal the importance of trance within their culture, an observation confirmed by Spivey after watching a shamanistic ritual performed past their present-day descendants in a hamlet near Tsumkwe, Namibia far from the mountains. Lewis-Williams theorises that, the paintings were non just pictures of everyday life, but they were about spiritual experiences in a trance state.
Media information [edit]
DVD release [edit]
Released on Region 2 DVD by BBC DVD on 30 May 2005.[eleven]
Companion book [edit]
The 2005 companion book to the serial was written past presenter Nigel Spivey.[12]
Selected editions [edit]
- Spivey, Nigel (28 Apr 2005). How Art Made the Globe: A Journey to the Origins of Art. BBC Books (hardcover). ISBN978-0563522058.
- Spivey, Nigel (8 November 2005). How Art Made the Earth: A Journey to the Origins of Art. Bones Books (hardcover). ISBN978-0465081813.
- Spivey, Nigel (7 November 2006). How Fine art Fabricated the World: A Journey to the Origins of Art. Basic Books (paperback). ISBN978-0465081820.
References [edit]
- ^ "How Art Fabricated the Earth". BBC Science & Nature. Retrieved 12 June 2012.
- ^ "How Art Made The World – part of a rich summertime of arts on BBC Tv set". BBC Printing Function. 31 March 2005. Retrieved 12 June 2012.
- ^ "How Art Fabricated the World: Near the Series". PBS. Retrieved 12 June 2012.
- ^ a b "How Art Made the Globe: Programmes". BBC Science & Nature. Retrieved 12 June 2012.
- ^ "How Fine art Made the World: More Man Than Homo". PBS. Retrieved 12 June 2012.
- ^ "The Venus of Willendorf: Exaggerated Beauty". PBS. Retrieved 12 June 2012.
- ^ "V.S. Ramachandran: The Herring Gull Test". PBS. Retrieved 12 June 2012.
- ^ "Egypt: Obsessive Social club". PBS. Retrieved 12 June 2012.
- ^ "Ancient Hellenic republic: Naked Perfection". PBS. Retrieved 12 June 2012.
- ^ "How Art Made the World: The Solar day Pictures Were Born". PBS. Retrieved 16 June 2012.
- ^ "How Art Made the World". BBC Shop. Retrieved 16 June 2012.
- ^ "How Art Fabricated the World: A Journey to the Origins of Fine art". BBC Shop. Retrieved xvi June 2012.
External links [edit]
- How Art Made the World at BBC Online
- How Art Made the World at IMDb
Source: https://en.wikipedia.org/wiki/How_Art_Made_the_World
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