How Art Made the World the Day Pictures Were Born Summary
| How Fine art Made the World | |
|---|---|
| Genre | Documentary |
| Presented by | Nigel Spivey |
| Country of origin | United Kingdom |
| Original language | English |
| No. of serial | 1 |
| No. of episodes | v |
| Production | |
| Executive producer | Kim Thomas |
| Producer | Mark Hedgecoe |
| Running time | sixty minutes |
| Distributor | BBC |
| Release | |
| Original network | BBC One |
| Original release | 26 June (2005-06-26) – 24 July 2005 (2005-07-24) |
How Art Made the World is a 2005 5-part BBC 1 documentary serial, with each episode looking at the influence of art on the current day state of affairs of our society.[i] [2]
"The essential premise of the bear witness," according to Nigel Spivey, "is that of all the defining characteristics of humanity every bit a species, none is more than basic than the inclination to make art. Cracking apes will smear pigment on sheet if they are given brushes and shown how, merely they do not instinctively produce fine art whatsoever more than parrots produce conversation. We humans are lone in developing the capacity for symbolic imagery."[three]
Episodes [edit]
Images dominate our lives. They tell us how to behave, even how to feel. They mould and define us. But why do these images, the pictures, symbols and the art we see effectually us every day, take such a powerful hold on us? The answer lies not here in our time but thousands of years agone. Considering when our ancient ancestors kickoff 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 exist travelling around the globe, discovering the world's most stunning treasures. Nosotros'll see how the struggles of early on artists led to the triumphs of the world's great civilisations. Our journey will take us through a hundred thousand years of history. Nosotros'll be witnessing some of the extraordinary ceremonies of the globe's oldest artistic cultures. And nosotros'll reveal how they unlock the deepest secrets of ancient art, We'll be hearing from the people who made these discoveries. And nosotros'll be using science to uncover how thousands of years agone the man mind drove the states to create astonishing images, You'll never await at our world the same fashion again, for this is the epic story of how we humans made art and how fine art made us human.
—Nigel Spivey's opening narration
Episode one: More than Human Than Homo... [edit]
The first episode asks why humans surround themselves with images of the trunk that are so unrealistic.[4] [5]
The fact is people rarely create images of the body that are realistic. What's going on? Why is our world so dominated past images of the body that are then unrealistic?
—Nigel Spivey's opening narration
Dr. Spive begins his investigation by travelling to Willendorf, where in 1908 three Austrian archaeologists discovered the Venus of Willendorf, an 11 cm (4.3 in) high statuette of a female effigy, estimated to have been made between 24,000 and 22,000 BCE. Spivey travels to the Naturhistorisches Museum in Vienna to examine the Venus's grotesquely exaggerated breasts and belly, as well every bit its lack of arms and face, which shows the desire to exaggerate dates back to the very kickoff images of the homo torso created past our ancestors. Spivey speculates that, The people who made 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 testify that this exaggerated trunk paradigm continued for millennia.[6]
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'due south experiment with Herring dupe chicks. When the chicks are shown a xanthous stick with a single red line made to represent their female parent's beak, they tap on it as they are programmed to practice to demand food. Withal, when they are presented with a stick with 3 red lines they tap on it with increased enthusiasm even in comparison to the original beak. Ramachandran concludes, "I remember there's an analogy here 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 brain of what the stick with the three red stripes is for the chick'south brain."[7]
Spivey next travels to Egypt to discover if the gross exaggerations of hard-wired herring gull instincts of the nomadic artisans survived into the era of civilization. The Egyptian images of the human torso, which he discovers at the Tomb of Pharaoh Rameses Half-dozen and the Karnak Temple Circuitous, were regular and repeated, and nothing virtually them was exaggerated. Mapped onto the wall at the unfinished Tomb of Amenhotep III's vizier Ramose he discovers the grid which dictated the precise proportions and composition of these images for three thousand years. The Egyptians created images of the body this style, Spivy concludes, not because of how their brains were hard-wired just considering of their civilisation. [8]
Spivey finally travels to Italy, where Stefano Mariottini relates his extraordinary discovery off the coast of Riace, near Reggio Calabria. Equally revealed in an antique copy of Herodotus in St John's College Old Library, Greek sculptors learned the Egyptians' techniques and initially created truly realistic depictions of the human body, similar Kritian Male child at the Acropolis Museum in Athens, Greece. However, co-ordinate to Ramachandran, the problem with the Kritian Male child is it was too realistic, that makes it tedious, and the style was before long abased. Spivey states that, the Greeks discovered they had to practice interesting things with the homo form, such equally distorting it in lawful ways, and examines the pioneering work of a sculptor and mathematician chosen Polyclitus, every bit exemplified in the Riace bronzes at the Museo Nazionale della Magna Grecia. Spivey concludes that the first civilisation capable of realism had used exaggeration to go farther, and it'due south that instinct which yet dominates our world today. [9]
This is the answer to our mystery. This is why the bodies in our mod globe look the way they do. The reality is we humans don't like reality. The shared biological instinct to prefer carefully exaggerated images links the states inexorably with our ancient ancestors, and yet what nosotros cull to exaggerate is where science gets left backside. That's where the magic comes in.
—Nigel Spivey'due south closing narration
Episode two: The Twenty-four hours Pictures Were Built-in [edit]
The second episode asks how the very first pictures ever fabricated were created and reveals how images may have triggered the greatest change in human history.[4] [10]
I could draw nearly anything in the world and you lot'd probably guess what it was, But at that place must take been some signal in our man story when we beginning got this power, some moment in time when nosotros began to create pictures and to understand what they meant. So what happened dorsum and then? How did we first get this power to create images? To find the answer, we demand to become way back in time.
—Nigel Spivey's opening narration
Dr. Spivey begins his investigation by travelling to the Cave of Altamira well-nigh the town of Santillana del Mar in Cantabria, Spain, where in 1879 a young girl'south assertion of Papa. Look, oxen. to her begetter, local amateur archeologist Marcelino Sanz de Sautuola, is explained to have meant that Maria had just become the commencement modern man to set eyes on the first gallery of prehistoric paintings ever to be discovered. The discover revealed that, Near 35,000 years ago, we began to create pictures and to empathise what they meant. French priest Henri Breuil believed that, prehistoric artists painted animals to increase their chances of a successful chase, only the animals painted hither and at other sites such as the Pech Merle in French republic, also visited by Spivey, did not match the bones discovered and abstruse patterns revealed the artists weren't merely copying from real life.
Spivey next travels to the Drakensberg Mountains of South Africa, where stone painting fabricated 200 years ago past the San people and similarly dismissed as hunting scenes, are revealed past anthropologist David Lewis-Williams to comprise many of the same unusual features. 19th century interviews with the San by German linguist Wilhelm Bleek reveal the importance of trance inside their culture, an observation confirmed by Spivey later on watching a shamanistic ritual performed past their nowadays-twenty-four hour period descendants in a village near Tsumkwe, Namibia far from the mountains. Lewis-Williams theorises that, the paintings were not merely pictures of everyday life, only they were about spiritual experiences in a trance state.
Media information [edit]
DVD release [edit]
Released on Region 2 DVD past BBC DVD on 30 May 2005.[11]
Companion volume [edit]
The 2005 companion book to the series was written by presenter Nigel Spivey.[12]
Selected editions [edit]
- Spivey, Nigel (28 April 2005). How Art Fabricated the World: A Journey to the Origins of Art. BBC Books (hardcover). ISBN978-0563522058.
- Spivey, Nigel (8 Nov 2005). How Art Made the Globe: A Journey to the Origins of Fine art. Basic Books (hardcover). ISBN978-0465081813.
- Spivey, Nigel (seven Nov 2006). How Art Fabricated the World: A Journey to the Origins of Fine art. Basic Books (paperback). ISBN978-0465081820.
References [edit]
- ^ "How Fine art Made the World". BBC Science & Nature. Retrieved 12 June 2012.
- ^ "How Art Made The World – role of a rich summertime of arts on BBC Television". BBC Press Office. 31 March 2005. Retrieved 12 June 2012.
- ^ "How Art Made the Earth: Near the Serial". 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 Human Than Human". PBS. Retrieved 12 June 2012.
- ^ "The Venus of Willendorf: Exaggerated Dazzler". PBS. Retrieved 12 June 2012.
- ^ "V.South. Ramachandran: The Herring Dupe Test". PBS. Retrieved 12 June 2012.
- ^ "Egypt: Obsessive Society". PBS. Retrieved 12 June 2012.
- ^ "Ancient Hellenic republic: Naked Perfection". PBS. Retrieved 12 June 2012.
- ^ "How Art Made the World: The Day Pictures Were Built-in". PBS. Retrieved 16 June 2012.
- ^ "How Art Made the Globe". BBC Shop. Retrieved 16 June 2012.
- ^ "How Art Fabricated the World: A Journey to the Origins of Art". BBC Shop. Retrieved 16 June 2012.
External links [edit]
- How Fine art Fabricated the Globe at BBC Online
- How Fine art Fabricated the World at IMDb
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Source: https://en.wikipedia.org/wiki/How_Art_Made_the_World
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