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This 5-part BBC documentary series (2005) is a inviting sight at why humans developed representational imagery or visual art, and how visual art has shaped the world we live in today. It’s a topic that has been tackled before but here we gaze it from an archaeological as well as socio-anthropological perspective (Dr Nigel Spivey is a lecturer in both Classical Art and Archaeology at Cambridge University) . His views are buttressed with insights from neuroscientists and psychologists. The focus is purely on the visual arts and centres on worn and prehistoric art. It tackles vast questions such as why humans want or need to form visual images, why especially images of humans and why the predilection for distorted forms? Why humanity sees the need to recount death in art. How visual art is stale for social and political purposes. How visual art has been refined to be the storytelling medium par excellence. It is meant for the lay audience and is easily accessible even to the uninitiated. Spivey is a titillating host and puts his ideas across clearly and succinctly.
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The 5 episodes (58 mins each) are:
Ep.1: More Human than Human – Why have humans felt the need to invent visual representations of themselves and specifically why indulge in distortions of the human produce? Is this hardwired in the human brain? What can we learn from novel studies in neuroscience?
Ep.2: The Day Pictures Were Born – What might have been the reasons for the Paleolithic cave paintings of Altamira and Lascaux? What can the the more unique cave paintings left by the San bushman in the Drakensberg Mountains of South Africa grunt us? What have studies into altered states of consciousness taught us and how is this applicable to our conception of the cave paintings?
Ep.3: The Art of Persuasion – The role of visual art throughout human history to organise and mobilise society; to persuade, to propagandise, to lie. From its earliest expend by Darius of Persia, through Alexander the Mammoth, to Caesar Augustus, to the original spin-meisters of Bush and Blair.
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Ep.4: Once Upon A Time – The role of visual art in story-telling, from its earliest beginnings as carved scenes on the Palace walls of King Ashurbanipal in Nineveh, to the marble statues of Classical Greece, to the legend carvings on Trajan’s Column, to the Hollywood spectacles of today. Includes a enchanting reappraisal of Australian Aboriginal art, seen in its cultural context as a blend of record, legend, music and dance and how one element cannot be divorced from the other, making it one of mankind’s earliest forerunners to the fresh film.
Ep.5: To Death and Succor – Humanity’s dismay and fascination with death and how we utilise art in an attempt to conquer it. How images of death are feeble to gird a society under external threat. Examines the significance of broken-down images of death. Compares Christian iconography with mature Aztec and Incan representations of death.
One criticism is that Spivey is at times too emphatic in his conclusions. What he proposes may certainly be legal but we cannot be determined of that (reasons for people producing distorted human imagery – the meaning of paleolithic paintings – the role of death in art) . What we can say is that they are grand conclusions in the light of show knowledge. Unruffled as an entry point for the lay audience, it is an good series. And Spivey certainly charges the viewer with his sheer enthusiasm.
The series is shot in 1.78:1 widescreen and presented as such on DVD (enhanced for widescreen TV) . Characterize quality is favorable. Photography is often aesthetic. Sound is in front-centered, crystal sure, 2.0 Dolby Surround. Optional English subtitles are provided. Extras include a 5-minute long interview with Spivey and Impress Hedgecoe on the series, as well as roughly 12 minutes worth of footage on shooting at the Gobekli Tepe archaeological residence in unique Turkey. This series is accompanied by a fully illustrated companion book written by Nigel Spivey available separately from BBC Press.
This is an examination of various aspects of art – depiction of human gain, origins of painting, storytelling, art of persuasion, depictions of death – and connecting their origins to today. Gripping stuff. It is visually ravishing, and presented in a dramatic scheme that is sharp.
One of the most engaging parts was the part on Gobekli Tepe, in Turkey, where colossal engraved pillars were erected 12,000 years ago. This was the same time and region where wheat was first cultivated, and people moved from hunting/gathering to farming. The theory presented was that the agricultural endeavor was begun in order to feed the thousands keen in building and enjoying these decorated pillars. This differs from the usual assumption that people went where the food was and then culture developed. Entertaining.
My allege with this series is the unquestioning acceptance of brain theories in some of their analyses. People in unrelated cultures made figurines of the female gain with burly bellies and breasts, and minimized other features. Baby birds whose mothers have red stripes on them peck at sticks with red stripes painted on them. Therefore, a brain expert declares, it is hardwired in our brains to exaggerate positive characteristics. Where is the evidence that it has anything to do with the brain? And what does “hardwired in our brains” mean, exactly? It always amazes me when humorous theories are approved without inquire of because they are expressed with an air of authority by an “expert”. It is not surprising that unrelated people in harsh environments, where starvation and racial extinction were valid concerns, would construct a fetish of the female invent looking well fed, pregnant and laden with milk. Nowadays, we are more concerned with obesity and overpopulation, so we collect the gaunt make glowing. The tendency to exaggerate favored characteristics is a conscious beautiful decision, no hardwiring needed.
In the fragment on death – comparing comforting and horrid images of death through the ages – it is said that people – even children – feel unpleasant when someone dies because they’re shy about their bear death. That is an unwarranted generalization. I believe most people feel poor because they miss the person who died, or concern about losing someone else. If children are concerned about their maintain death, I reflect it is because they are reminded of a previous death, as in the demolish of a previous lifetime. The spiritual aspect of these subjects is completely neglected in this series.
Nevertheless, it is worth watching for its fresh reach to art history, and the relating of various periods and cultures. Objective rapidly forward through the psychobabble.
recuperer mon ex
recuperer femme
reconqu
