Critiquing a social aesthetic for the British Middle Pleistocene : the origins of art and the twisted biface?
This thesis is concerned with developing a theoretical rationale and critical methodology by which we can test for the existence of proto-artistic behaviours. In doing so it seeks to ask whether art as we understand it in the modem world is an emergent phenomenon or whether 'primitives' of this phenomenon can be identified. The first part of the thesis sets out to critique and develop upon existing models of how art is conceptualised in archaeology, using developments in the philosophy of art, primatology and neuroscience. The result of this is an appeal to acknowledge a greater role for the aesthetics of gesture ,during the production and use of material culture. This is then proposed to be one potential 'primitive' of a later emergent art that may be archaeologically identifiable within the Middle Pleistocene. The second part of the thesis sets out a suitable case study for the testing of this assumption, the so called 'twisted ovate biface tradition' of the later British Acheulean. A methodology by which the twisted shapes of these objects may be tested for evidence of a gestural aesthetic is then developed and the objects subjected to statistical analyses. The results of these analyses, whilst affirming
Davies, Richard William
Critiquing a social aesthetic for the British Middle Pleistocene : the origins of art and the twisted biface?. This thesis is concerned with developing a theoretical rationale and critical methodology by which we can test for the existence of proto-artistic behaviours. In doing so it seeks to ask whether art as we understand it in the modem world is an emergent phenomenon or whether 'primitives' of this phenomenon can be identified. The first part of the thesis sets out to critique and develop upon existing models of how art is conceptualised in archaeology, using developments in the philosophy of art, primatology and neuroscience. The result of this is an appeal to acknowledge a greater role for the aesthetics of gesture ,during the production and use of material culture. This is then proposed to be one potential 'primitive' of a later emergent art that may be archaeologically identifiable within the Middle Pleistocene. The second part of the thesis sets out a suitable case study for the testing of this assumption, the so called 'twisted ovate biface tradition' of the later British Acheulean. A methodology by which the twisted shapes of these objects may be tested for evidence of a gestural aesthetic is then developed and the objects subjected to statistical analyses. The results of these analyses, whilst affirming
social aesthetic british middle_pleistocene origin art twist concerned develop theoretical rationale critical test existence proto artistic behaviour seek ask_whether art modem world emergent phenomenon whether phenomenon identify first_part set critique_develop upon exist model art conceptualise archaeology use development philosophy_art neuroscience appeal acknowledge great role aesthetic gesture production_use material_culture propose potential primitive later emergent art may archaeologically identifiable within middle_pleistocene second_part set suitable case_study test assumption call tradition later british acheulean shape object may test evidence gestural aesthetic develop object subject statistical_analysis analysis whilst affirm