The introductory chapter, entitled 'The Subject, Method and Scope of this Enquiry,' details how anthropology is to be pursued as a science and advocates the method of participant observation.

Stephen Davies presents a fascinating exploration of the idea that art, and our aesthetic sensibilities more generally, should be understood as an element in human evolution. He asks: Do animals have aesthetics? Do our aesthetic preferences have prehistoric roots? Is art universal? What is the biological role of aesthetic and artistic behaviour?

The need to create art is found in every human society, manifest in many different ways across many different cultures. Is this universal need rooted in our evolutionary past? The Art Instinct reveals that it is, combining evolutionary psychology with aesthetics to shed new light on fascinating questions about the nature of art.

Introduction -- Landscape and longing -- Art and human nature -- What is art? -- But they don't have our concept of art -- Art and natural selection -- The uses of fiction -- Art and human self-domestication -- Intention, forgery, dada : three aesthetic problems -- The contingency of aesthetic values -- Greatness in the arts.

Dissanayake argues that art behaviors – which she characterizes first as patterns or syndromes of creation and response and later as rhythms and modes of mutuality – are universal, innate, old, and a source of intrinsic pleasure, these being hallmarks of biological adaptation. Art behaviors proved to enhance survival by reinforcing cooperation, interdependence, and community, and, hence, became selected for at the genetic level. Indeed, she claims that art is essential to the fullest realization of our human nature. I make (...) three criticisms: Dissanayake’s theory cannot account adequately for differences in the aesthetic value of artworks; the connections drawn between art and reproductive success are too stretched to account for art's production, nature, and reception; indeed, art enters the picture only because it is so thinly characterized that it remains in doubt that her topic is art as we understand it. (shrink)

This text addresses the profound human questions of love and work. Beginning with a historical introduction, the author progresses through adaptive problems that humans face, and concludes by showing how evolutionary psychology encompasses all branches of psychology.

Answers the question "how does art evoke emotion?" and explains how art is a powerful factor in human social behavior.

"Dissanayake argues that art was central to human evolutionary adaptation and that the aesthetic faculty is a basic psychological component of every human being. In her view, art is intimately linked to the origins of religious practices and to ceremonies of birth, death, transition, and transcendence. Drawing on her years in Sri Lanka, Nigeria, and Papua New Guinea, she gives examples of painting, song, dance, and drama as behaviors that enable participants to grasp and reinforce what is important to their (...) cognitive world." --Publishers Weekly "A wide-ranging essay on the place of art in human evolution and in the future, at once learned and spirited."--Howard Gardner, Harvard University "Ellen Dissanayake's book is the most forceful rejoinder I've read so far to the trivializing pessimism of postmodernist art theory."--Kenneth Baker,San Francisco Chronicle "Affirm[s] the idea that art is for life's sake, for the fulfillment of fundamental human needs, and for human survival.... She gives us a coherent rationale for funding broadly based arts programs."--Art Therapy "Homo Aestheticusoffers a wealth of original and critical thinking. It will inform and irritate specialist, student, and lay reader alike."--American Anthropologist "Homo Aestheticus calls for a counterrevolution in our thinking about art. It is timely, provocative, and immensely valuable."--Philosophy and Literature. (shrink)

The need to create art is found in every human society, manifest in many different ways across many different cultures. Is this universal need rooted in our evolutionary past? The Art Instinct reveals that it is, combining evolutionary psychology with aesthetics to shed new light on fascinating questions about the nature of art.

We examine the ontogeny and phylogeny of object and fantasy play from a functional perspective. Each form of play is described from an evolutionary perspective in terms of its place in the total time and energy budgets of human and nonhuman juveniles. As part of discussion of functions of play, we examine sex differences, particularly as they relate to life in the environment of evolutionary adaptedness and economic activities of human and nonhuman primates. Object play may relate to foraging activities. (...) Although fantasy play has been viewed as limited to humans, we speculate that certain types of fantasy play may be present in some nonhuman primates. Fantasy play may enable juveniles to see situations from different perspectives. We conclude that fantasy play may have immediate effects and object play may have deferred effects. (shrink)

With the discovery of conditioned reflexes by I. P. Pavlov, the possibilities for experimenting, following the example set by the classical, exact sciences, were made available to the behavioral sciences. Many psychologists hoped that the component parts of behavior had also been found from which the entire, multifaceted cosmos of behavior could then be constructed. An experimentally oriented psychology subsequently developed including the influential school of behaviorism. This first text on human ethology presents itself as a unified work, even though (...) not every area could be treated with equal depth. For example, a branch of ethology has developed in the past decade which places particular emphasis on ecology and population genetics. This field, known as sociobiology, has enriched discussion beyond the boundaries of behavioral biology through its stimulating, and often provocative, theses. After vigorous debates between behaviorists, anthropologists, and sociologists, we have entered a period of exchange of thoughts and a mutual approach, which in many instances has led to cooperative projects of researchers from different disciplines. This work offers a biological point of view for discussion and includes data from the author's cross-cultural work and research from the staff of his institute. It confirms, above all else, the astonishing unity of mankind and paints a basically positive picture of how we are moved by the same passions, jealousies, friendliness, and active curiosity. The need to understand ourselves has never been as great as it is today. An ideologically torn humanity struggles for its survival. Our species, does not know how it should compensate its workers, and it experiments with various economic systems, constitutions, and forms of government. It struggles for freedom and stumbles into newer conflicts. Population growth is apparently completely out of hand, and at the same time many resources are being depleted. We must consider our existence rationally in order to understand it, but certainly not with cold, calculating reason but with the warm feeling of a heart concerned for the welfare of later generations. (shrink)