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

[Ian Glendinning]

Hi Ant, specifically you may be interested that thare are also quite a
number of (positive) references to multiple published works of your
mate Ernst Gombrich in the Boyd book.

Proving a very interesting (if dense and long) tome. Strange style -
thousands of endnotes - only indexed in the text - no actual debate /
discussion of the referenced works - just a huge compilation of this
is what happened, how and why it works - effectively a narrative of
assertions assembled from the meticulously researched references. I'll
blog some review comments at some point.

Regards
Ian

On Thu, Jan 21, 2010 at 8:43 PM, Ant McWatt <antmcwatt at hotmail.co.uk> wrote:
>
> 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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