[MD] The difference between a Monet and a finger painting

[Krimel]

Ant,
Would you agree that it is unfortunate that the MoQ excludes itself from
mainstream evolutionary thinking as a result of Pirsig's lack of contact
with say, Gould, Wilson or Dawkins? Doesn't his teleological view and his
insistence on a "direction" for evolution cripple progress on the MoQ? Would
you care to comment on his failure to correct his mistakes in the Baggini
interview?
Krimel

-----Original Message-----
From: Ant McWatt [mailto:antmcwatt at hotmail.co.uk] 
Sent: Thursday, January 21, 2010 2:43 PM
To: moq discuss
Subject: Re: [MD] The difference between a Monet and a finger painting


Ian Glendinning stated January 19th 2010:

> I'm reading Brian Boyd "On the Origin of Stories" at the moment, most
> of which so far is on the history of arts generally from a natural
> evolutionary perspective.


Ant McWatt says:

Ian, 

That's an interesting reference especially with its mention of Homer's
"Odyssey".  For anyone else interested here is part of the publisher's
summary:


On the Origin of Stories 

Evolution,Cognition, and Fiction 


Brian Boyd

A century and a half after the publication of Origin of Species,
evolutionary
thinking has expanded beyond the field of biology to include virtually all
human-related subjects—anthropology, archeology, psychology, economics,
religion, morality, politics, culture, and art. Now a distinguished scholar
offers the first comprehensive account of the evolutionary origins of art
and
storytelling. Brian Boyd explains why we tell stories, how our minds are
shaped
to understand them, and what difference an evolutionary understanding of
human
nature makes to stories we love... 

After considering art as adaptation, Boyd examines Homer’s Odyssey and Dr.
Seuss’s 
Horton Hears a Who! demonstrating how an evolutionary lens can offer new 
understanding and appreciation of specific works. What triggers our
emotional 
engagement with these works? What patterns facilitate our responses? The
need to 
hold an audience’s attention, Boyd underscores, is the fundamental problem
facing 
all storytellers. Enduring artists arrive at solutions that appeal to
cognitive
universals: an insight out of step with contemporary criticism, which
obscures
both the individual and universal. 

http://www.hup.harvard.edu/catalog/BOYORI.html



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