Over the last two decades, scientific accounts of religion have received a great deal of scholarly and popular attention both because of their intrinsic interest and because they are widely as constituting a threat to the religion they analyse. The Believing Primate aims to describe and discuss these scientific accounts as well as to assess their implications. The volume begins with essays by leading scientists in the field, describing these accounts and discussing evidence in their favour. Philosophical and theological reflections (...) on these accounts follow, offered by leading philosophers, theologians, and scientists. This diverse group of scholars address some fascinating underlying questions: Do scientific accounts of religion undermine the justification of religious belief? Do such accounts show religion to be an accidental by-product of our evolutionary development? And, whilst we seem naturally disposed toward religion, would we fare better or worse without it? Bringing together dissenting perspectives, this provocative collection will serve to freshly illuminate ongoing debate on these perennial questions. (shrink)

We investigated cultural differences between U.S. and Japanese color preferences and the ecological factors that might influence them. Japanese and U.S. color preferences have both similarities and differences. Complex gender differences were also evident that did not conform to previously reported effects. Palmer and Schloss's weighted affective valence estimate procedure was used to test the Ecological Valence Theory's prediction that within-culture WAVE-preference correlations should be higher than between-culture WAVE-preference correlations. The results supported several, but not all, predictions. In the (...) second experiment, we tested color preferences of Japanese–U.S. multicultural participants who could read and speak both Japanese and English. Multicultural color preferences were intermediate between U.S. and Japanese preferences, consistent with the hypothesis that culturally specific personal experiences during one's lifetime influence color preferences. (shrink)

We investigated how color preferences vary according to season and whether those changes could be explained by the ecological valence theory. To do so, we assessed the same participants’ preferences for the same colors during fall, winter, spring, and summer in the northeastern United States, where there are large seasonal changes in environmental colors. Seasonal differences were most pronounced between fall and the other three seasons. Participants liked fall-associated dark-warm colors—for example, dark-red, dark-orange, dark-yellow, and dark-chartreuse—more during fall than other (...) seasons. The EVT could explain these changes with a modified version of Palmer and Schloss’ weighted affective valence estimate procedure that added an activation term to the WAVE equation. The results indicate that color preferences change according to season, as color-associated objects become more/less activated in the observer. These seasonal changes in color preferences could not be characterized by overall shifts in weights along cone-contrast axes. (shrink)

Accession Number: ATLA0001712127; Hosting Book Page Citation: p 187-206.; Physical Description: table ; Language(s): English; General Note: Bibliography: p 204-206.; Issued by ATLA: 20130825; Publication Type: Essay.

McKay & Dennett (M&D) convincingly argue against many proposals for adaptively functioning misbelief, but the conclusion that true beliefs are generally adaptive does not follow. Adaptive misbeliefs may be few in kind but many in number; maladaptive misbeliefs may routinely elude selective pruning; reproductively neutral misbeliefs may abound; and adaptively grounded beliefs may reliably covary with but not truthfully represent reality.

Christians frequently resist evolutionary theory, believing it to be incompatible with the core values of their tradition. But what exactly are the tensions between evolution and religious faith in the area of human morality? Evolution and Ethics examines the burning questions of human morality from the standpoint of Christian thought and contemporary biology, asking where the two perspectives diverge and where they may complement one another. -/- Representing a significant dialogue between world-class scientists, philosophers, and theologians, this volume explores the (...) central features of biological and religious accounts of human morality, introducing the leading theories and locating the key points of contention. Central to these discussions are the questions of whether human actions are ever genuinely selfless, whether there is something in the moral life that transcends biological function, and whether one can sensibly speak of an overall purpose to the course of evolution. (shrink)

When interpreting the meanings of visual features in information visualizations, observers have expectations about how visual features map onto concepts (inferred mappings.) In this study, we examined whether aspects of inferred mappings that have been previously identified for colormap data visualizations generalize to a different type of visualization, Venn diagrams. Venn diagrams offer an interesting test case because empirical evidence about the nature of inferred mappings for colormaps suggests that established conventions for Venn diagrams are counterintuitive. Venn diagrams represent classes (...) using overlapping circles and express logical relationships between those classes by shading out regions to encode the concept of non-existence, or none. We propose that people do not simply expect shading to signify non-existence, but rather they expect regions that appear as holes to signify non-existence (the hole hypothesis.) The appearance of a hole depends on perceptual properties in the diagram in relation to its background. Across three experiments, results supported the hole hypothesis, underscoring the importance of configural processing for interpreting the meanings of visual features in information visualizations. (shrink)

The concept of altruism, or disinterested concern for another's welfare, has been discussed by everyone from theologians to psychologists to biologists. In this book, evolutionary, neurological, developmental, psychological, social, cultural, and religious aspects of altruistic behavior are examined. It is a collaborative examination of one of humanity's essential and defining characteristics by renowned researchers from various disciplines. Their integrative dialogue illustrates that altruistic behavior is a significant mode of expression that can be studied by various scholarly methods and understood from (...) a variety of perspectives in both the humanities and the sciences. Altruism and Altruistic Love establishes a framework for scholarship on altruism by presenting definitions, a historical overview, a review of contemporary research, and debates in various disciplines, as well as a discussion of directions for future work. (shrink)

1891. The recovered manuscript of Aristotle's Constitutional History of Athens, now for the first time given to the world from the unique text in the British...

Since the 1960s, many artists have incorporated ecological concerns into their work, an endeavor that has required new strategies in art-making. To explore recent American manifestations of these interests, the David and Alfred Smart Museum commissioned new projects from artists Mark Dion, Peter Fend, and Dan Peterman, each focusing on interrelationships between particular organisms—human beings-and a specific group of sites—a museum building, a river landscape, and a university campus. The results, exhibited at the Smart Museum during the (...) summer of 2000, evoke the varied scales, from the microscopic to the global, at which human actions affect the environment. This catalog documents each of the artists' projects through an array of images and words: Smart Museum Associate Curator Stephanie Smith provides an introduction and brief overviews of the three projects, each of the artists contribute statements, and photographers Susan Anderson and Tom van Eynde document—in over 100 images—the processes and projects that comprise the exhibition. (shrink)

Accompanying an exhibition organized by the Whitney Museum of American Art, New York, this book is the most comprehensive catalogue on the work of this internationally recognized architectural firm.

Bhabha, Georges Didi-Huberman, David Morgan and Lee Siegel, as well as a series of focused contributions by Yve-Alain Bois, Wendy Doniger, Kenneth Frampton, Martin E. Marty, John Hallmark Neff, Annemarie Schimmel, and Helen Tworkov consider how rapture resonate's both in a cultural context and within the experience of a single human being.

Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to (...) make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. -/- The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3, I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics. (shrink)

Museums are key cultural loci of our times. They are symbols and sites for the playing out of social relations of identity and difference, knowledge and power, theory and representation. These are issues at the heart of contemporary anthropology, sociology and cultural studies. This volume brings together original contributions from international scholars to show how social and cultural theory can bring new insight to debate about museums. Analytical perspectives on the museum are drawn from the anthropology and sociology of (...) globalization, time, space and consumption, as well as from feminism, psychoanalysis, experimental ethnography and literary theory. These perspectives are brought to bear on questions of museums' changing role and position in the representation of the nation-state, of community, and of gender, class and ethnicity. The examples in this book are drawn from different kinds of museum around the world, and include significant controversial and experimental exhibitions; the Enola Gay at the Smithsonian; feminist exhibitions in Scandinavia; the National Museum of Sri Lanka; Victorian art at the Tate; the representation of race at Colonial Williamsburg and of colonialism and identity in Canada. (shrink)

Die vorliegenden, bisher nicht veröffentlichten Briefe, Post-karten, Widmungen, Anzeigen und Telegramme von Prof. Dr. Martin Heidegger und seiner Frau Elfride an Walter Schloss aus den Jahren 1950 bis 1976 sind zusammen mit einigen Briefentwürfen von Schloss Teile einer Korrespondenz, die Schloss dem Herausgeber vererbte. Es geht darin um Danksagungen, Wünsche, Termine für Besuche bei Heidegger und zur Verfügung stehende Zeit, um Angaben zur Anwesenheit, Widmungen, auch um Angaben zum gesundheitlichen Befinden und Älterwerden, um Anmerkungen zur Anhängerschaft und (...) zum Persönlichkeitskult, um einige Bemerkungen zum Wesen des Denkens und vor allem um den Berliner Heidegger-Kreis, den Schloss gegründet hatte. (shrink)

Can we still watch Woody Allen's movies? Can we still laugh at Bill Cosby's jokes? Woody Allen, Kevin Spacey, Dave Chappelle, Louis C. K., J.K. Rowling, Michael Jackson, Roseanne Barr. Recent years have proven rife with revelations about the misdeeds, objectional views, and, in some instances, crimes of popular artists.

What is the difference between a performance of Beethoven's Fifth Symphony and the symphony itself? What does it mean for musicians to be faithful to the works they perform? To answer this question, Goehr combines philosophical and historical methods of enquiry. She describes how the concept of a musical work emerged as late as 1800, and how it subsequently defined the norms, expectations, and behavior characteristic of classical musical practice. Out of the historical thesis, Goehr draws philosophical conclusions about the (...) normative functions of concepts and ideals. She also addresses current debates amongst conductors, early-music performers, and avant-gardists. (shrink)

This paper aims to demonstrate how museum collection sustainability is grounded in a range of concrete care practices that are social and material. It explores the unstable nature of heritage materials, drawing on the ecological approach of infrastructure and maintenance studies in the field of art and museums. To do this, I analyse the role of mundane operations in the daily functioning of an exhibition area, presenting data from fieldwork I conducted from 2015–2016 at the Musée du quai Branly (...) in Paris, which preserves collections of art and ethnology from outside Europe. I observed the museum's preventive conservation practices, which work to minimise the risks of material deterioration of heritage objects, focusing attention on stabilising the relationship between objects and their environments. These practices contribute to the construction of the temporalities of museum objects. In exploring the means and devices of preserving these heritage objects, the very assumption of perpetuation is destabilised. Environments continually unfold with the silent material metamorphosis of objects. The exhibition becomes a place of flows, where a multitude of entities circulate and cohabit at different scales, such as insects, dust, and powdery fragments. The daily human work of vacuuming, cleaning, trapping, and measuring provide a set of actions united with other entities engaged in the material life of the exhibited object. As we zoom in on the exhibition space, different timelines emerge that are inextricably linked to the different lives of the museum. (shrink)

ABSTRACT This essay examines the exhibition of dinosaurs at the American Museum of Natural History during the first two decades of the twentieth century. Dinosaurs provide an especially illuminating lens through which to view the history of museum display practices for two reasons: they made for remarkably spectacular exhibits; and they rested on contested theories about the anatomy, life history, and behavior of long-extinct animals to which curators had no direct observational access. The American Museum sought to (...) capitalize on the popularity of dinosaurs while mitigating the risks of mounting an overtly speculative display by fashioning them into a kind of mixed-media installation made of several elements, including fossilized bone, shellac, iron, and plaster. The resulting sculptures provided visitors with a vivid and lifelike imaginative experience. At the same time, curators, who were anxious to downplay the speculative nature of mounted dinosaurs, drew systematic attention to the material connection that tied individual pieces of fossilized bone to the actual past. Freestanding dinosaurs can therefore be read to have functioned as iconic sculptures that self-consciously advertised their indexical content. (shrink)

Reading the Shape of Nature vividly recounts the turbulent early history of the Museum of Comparative Zoology at Harvard and the contrasting careers of its founder Louis Agassiz and his son Alexander. Through the story of this institution and the individuals who formed it, Mary P. Winsor explores the conflicting forces that shaped systematics in the second half of the nineteenth century. Debates over the philosophical foundations of classification, details of taxonomic research, the young institution's financial struggles, and the (...) personalities of the men most deeply involved are all brought to life. In 1859, Louis Agassiz established the Museum of Comparative Zoology to house research on the ideal types that he believed were embodied in all living forms. Agassiz's vision arose from his insistence that the order inherent in the diversity of life reflected divine creation, not organic evolution. But the mortar of the new museum had scarcely dried when Darwin's Origin was published. By Louis Agassiz's death in 1873, even his former students, including his son Alexander, had defected to the evolutionist camp. Alexander, a self-made millionaire, succeeded his father as director and introduced a significantly different agenda for the museum. To trace Louis and Alexander's arguments and the style of science they established at the museum, Winsor uses many fascinating examples that even zoologists may find unfamiliar. The locus of all this activity, the museum building itself, tells its own story through a wonderful series of archival photographs. (shrink)

This survey outlines a history of museums written through biographies of objects in their collections. First, the mechanics of the movement of things and the accompanying shifts in status are considered, from manufacture or growth through collecting and exchange to the museum. Objects gathered meanings through associations with people they encountered on their way to the collection, thus linking the history of museums to broader scientific and civic cultures. Next, the essay addresses the use of items once they joined (...) a collection, whether classificatory, analytical, or in display. By thus embedding the study of scientific practice in material culture, this approach contributes to constructivist histories of science. The final section addresses the role of objects in the experience of the visitors, emphasizing how fruitful the history of museum objects can be in the study of the public engagement with science. (shrink)

In the Spring of 1944, an informal discussion took place in Cambridge between Mr. R. S. Whipple, Professor Allan Ferguson and Mr. F. H. C. Butler, concerning the formation of a national Society for the History of Science. This is the opening sentence of the inaugural issue of the Bulletin of the British Society for the History of Science, the Society's first official publication. Butler himself was the author of this outline account of the subsequent approach to the Royal Society, (...) the parallel moves to establish a National Committee of the International Academy of the History of Science, the formation of a provisional committee to prepare a draft constitution for a national society, and the proceedings of the first Annual General Meeting in May 1947. Whipple had been in Cambridge to discuss his offer to present his collection of old scientific instruments to the University and the possible foundation of a new museum, and Butler, as Secretary of the History of Science Committee in Cambridge, was the chief mover in both this development and an initiative coupled with it to establish a department of the history of science. (shrink)

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