Description

Book Synopsis
Origins of art; Visual art; Prehistoric art; Human evolution; Art as communication

Table of Contents
Acknowledgements[-]Preface[-]Chapter 1[-]Art unfolding: Studying the origins of visual art[-]1.1 Pleistocene visual art: An outline of definitions[-]1.2 Research approaches to the origins of art[-]1.3 Cooperation as and explanatory framework of human evolution [-]Chapter 2[-]From the cradle to the cave: A survey of Pleistocene visual art[-]2.1 Archaeological periods in focus: The MSA and EUP[-]2.2 Pleistocene visual art: Identification and attribution[-]2.3 Tracing the origins of Pleistocene visual art: A general survey[-]2.4 Trends in the development of Pleistocene visual art[-]2.5 Conclusion[-]Chapter 3[-]The art of courtship: Geoffrey Miller's mate choice model[-]3.1 Sexual selection and mate choice theory: The background[-]3.2 The bowerbird and the artist: Key arguments[-]3.3 Visual art as a courtship display: Critical assessment[-]3.4 Test against the archaeological record of visual art[-]3.5 Conclusion[-]Chapter 4[-]Life Artified: Ellen Dissanayake's ethological model[-]4.1 The biological study of behaviour: The background[-]4.2 The artification hypothesis: Key arguments[-]4.3 What is art for? Critical assessment[-]4.4 Test against the archaeological record of visual art[-]4.5 Conclusion[-]Chapter 5[-]Art in mind: Steven Mithen's model of cognitive evolution[-]5.1 The evolution of human cognition: The background[-]5.2 The prehistory of the mind: Key arguments[-]5.3 A mind for art: Critical assessment[-]5.4 Test against the archaeological record of visual art[-]5.5 Conclusion[-]Chapter 6[-]Art signals: Communication, cooperation, and the origins of visual art[-]6.1 Visual art as a communication signal[-]6.2 Who art thou? Cooperation, memory & identity[-]6.3 The borne identity: Visual art's origins[-]6.4 Test against the archaeological record of visual art[-]6.5 Conclusion[-]Concluding Remarks[-]Summary of the chapters[-]Limitations of the research[-]Suggestions for future research[-]Final reflections[-]Bibliography [-]Summary in Dutch[-]Curriculum Vitae[-]

Art in the Making: The evolutionary origins of

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    A Paperback / softback by Mendoza Straffon

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      Publisher: Amsterdam University Press
      Publication Date: 25/09/2014
      ISBN13: 9789085550907, 978-9085550907
      ISBN10: 9085550904

      Description

      Book Synopsis
      Origins of art; Visual art; Prehistoric art; Human evolution; Art as communication

      Table of Contents
      Acknowledgements[-]Preface[-]Chapter 1[-]Art unfolding: Studying the origins of visual art[-]1.1 Pleistocene visual art: An outline of definitions[-]1.2 Research approaches to the origins of art[-]1.3 Cooperation as and explanatory framework of human evolution [-]Chapter 2[-]From the cradle to the cave: A survey of Pleistocene visual art[-]2.1 Archaeological periods in focus: The MSA and EUP[-]2.2 Pleistocene visual art: Identification and attribution[-]2.3 Tracing the origins of Pleistocene visual art: A general survey[-]2.4 Trends in the development of Pleistocene visual art[-]2.5 Conclusion[-]Chapter 3[-]The art of courtship: Geoffrey Miller's mate choice model[-]3.1 Sexual selection and mate choice theory: The background[-]3.2 The bowerbird and the artist: Key arguments[-]3.3 Visual art as a courtship display: Critical assessment[-]3.4 Test against the archaeological record of visual art[-]3.5 Conclusion[-]Chapter 4[-]Life Artified: Ellen Dissanayake's ethological model[-]4.1 The biological study of behaviour: The background[-]4.2 The artification hypothesis: Key arguments[-]4.3 What is art for? Critical assessment[-]4.4 Test against the archaeological record of visual art[-]4.5 Conclusion[-]Chapter 5[-]Art in mind: Steven Mithen's model of cognitive evolution[-]5.1 The evolution of human cognition: The background[-]5.2 The prehistory of the mind: Key arguments[-]5.3 A mind for art: Critical assessment[-]5.4 Test against the archaeological record of visual art[-]5.5 Conclusion[-]Chapter 6[-]Art signals: Communication, cooperation, and the origins of visual art[-]6.1 Visual art as a communication signal[-]6.2 Who art thou? Cooperation, memory & identity[-]6.3 The borne identity: Visual art's origins[-]6.4 Test against the archaeological record of visual art[-]6.5 Conclusion[-]Concluding Remarks[-]Summary of the chapters[-]Limitations of the research[-]Suggestions for future research[-]Final reflections[-]Bibliography [-]Summary in Dutch[-]Curriculum Vitae[-]

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