1. Chapter 7: Meaning
1.1. "The things we experience are held in the mind as concepts, but to make sense of them and share them by communication with others, they have to be distinguished from each other, put in order and represented through an equivalent system sound and sight as signs." pg. 97
1.1.1. Explicit meanings and implications of images can be translated into words and descriptions.
2. Chapter 8:Performance
2.1. "While costumes make persons into artefacts, they may do more than represent social roles and collective identities, by transforming the wearers into other beings." pg. 118
2.1.1. In this chapter we learned that costumes and formal displays are a form of communication and representing the cultures social status. Performances are a way to convey expression and are a symbolic form, expressed with music, dance, and costumes.
3. Chapter 9: Archaeology
3.1. "A theme eventually identified as the "Sacrifice ceremony" illustrates the methodology. Initial identification of motifs was based on little more than common sense recognition of human behavior." pg. 129
3.1.1. Methodologies for analyzing the iconography illustrates ancient Moche and Nasca culture. It is a form of reconstruction in order to better understand and intercept the cultures of the past.
4. Chapter 10:
4.1. "Firth comparison of art with religion is a reminder that people seek to impose pattern on all their cultural products" PG 142
4.1.1. In this chapter we looked at Art in Anthropology, Cosmology, Work, and in Cosmic Agency. This allows us to see how art can be used to realize the human experience in different ways
5. Chapter 11
5.1. "The vast majority of what becomes art is portable, whether from medieval Europe or from other sources." PG 160
5.1.1. The Art World chapter explains the values that define the western tradition of art and art as collectibles
6. Chapter 12:
6.1. "the British invaded and looted from the royal palace vast quantities of artefacts of a quality and style quite new to Europeans of the time" PG 174
6.1.1. The exotic primitive explains colonial stereotypes and appropriation of small society artifacts and the price, rewards, and costs of collecting authentic art.
7. Chapter 13
7.1. "insofar as the purchasers of these artifacts recognize the new circumstances of the makers, they now evaluate the artefacts as "Ethnics" art." PG 202
7.1.1. Marketing Exotic art dives into the Exotic art market and how it has sustained and reconstituted local art traditions and identities
8. Chapter 14:
8.1. "Europeans have become experts in the artistic domination of other regions of the world during the last few centuries" PG 204
8.1.1. Artistic Colonialism talks about how art is globalized and yet still exclusive to a few, it also explored how native art can be appropiated
9. Chapter 15:
9.1. "Every community in the world is touched by these developments, however hard some try to evade them, and the consequences include changes in their artistic culture" PG 222
9.1.1. The global and the local chapter explores how mass consumption creates global styles and buys up local ones.
10. CH 1: The Origins of Art
10.1. "Art originated in Europe, but not, as Europeans tend to assume, with the cave paintings of Paleolithic. Rather, it began only a few hundred years ago as cultural traditions f distinguishing the creation of particular artefacts and activities that communicate significant ideas and emotions" - pg. 7
10.1.1. Art to be considered an emotional connection to ones experience or intension, was only an more recent thought. Rather artefacts of other world art was not considered art to the earlier Europeans.
10.2. "While the skills of making things could be loosely described as "arts", practiced by artisans, Renaissance painters and sculptors were increasingly treated as artists," who, analogous with poets, pursued an intellectual discipline under divine inspiration." - pg. 9
10.2.1. Slowly in the mid-fifteenth century to the mid-sixteenth century, the idea around artisans to artist formed and increased, as "artist" pursued intellectual disciplines. Rather than just the pursue of "making" or forming. Later building institutions, schools, styles, and academies.
11. CH 2: Classical Art
11.1. "Rather than being treated as works of art in any way comparable with the Greek sculpture, the Assyrian reliefs excited interest as illustrations of antiquity, identified with the contemporary exotic Orient from which they had been retrieved." - pg. 28
11.1.1. The acquisitions of monumental sculptures and images of one of the first archaeological investigations of the Ottomans. Rather than seeing them as art, rather pieces to showcase another world. One in which Europeans found exotic.
11.2. "The point was that art should idealize nature rather than portray it, being created by the mind free of the constraints imposed by society." - pg. 29
11.2.1. According to a German philosopher, Georg W.F. Hegel, instead of an idea created by the mind, must have some "spiritual essence". Rather than a random idea, nature is how we see or represent it, in this case, classical art is influenced by society.
12. CH 3: Oriental Art
12.1. "The "Oriental realm" represented the spirit in a less developed stage, lacking the self-awareness realized in full b contemporary Europe." -pg 39
12.1.1. The word "Orient" or "Oriental" was followed by a representation of exotic, or alien religions to the European perspective. Overall, "Oriental" realm or of other cultures was considered less compared to how Europeans held themselves in the hierarchy of development.
12.2. "As later "diffusionist" theories in anthropology, the culture achievements of non-western peoples were acknowledged only as poor imitations of Western antecedents, which had influenced them by tenuous or unspecified means; in this case a short-lived invasion that left no artisans or monuments in India." - pg. 44
12.2.1. Assumptions of Indian arts and workmanship was imitations European art. This was later debunked by art intellect Ernest Havell, who assessed Indian art to be a representation of spirit of divinity derived from ancient Vedic.
13. CH 4: Primitive Art
13.1. "From meaning "original", "pure", and "simple", the word was used from the end of the eighteenth century to describe early or aboriginal peoples." - pg. 53
13.1.1. The description of "Primitive" and its beginning use by the European anthropologist. A word used to make sense of their understanding of human development and separate themselves from contrast of those they considered less developed "savages".
13.2. "While most art historians and connoisseurs preferred to reserve the concept of art, particularly fine art, for expressive creativity in the Western Classical tradition, anthropologist seeking to explain the whole of humanity within a single evolutionary scheme persisted in applying it cross-culturally." - pg. 55
13.2.1. Anthropologist in the nineteenth century began considering and applying "privative" art or primitive culture in the grand scheme of humanity with a single evolutionary standpoint. A thought most art historians voided challenging the human development that linked to fine arts and practices.
14. Chapter 5: Prehistoric Art
14.1. "They began to emphasize narratives, interpreting archaelogical remains to trace the development of humanity in terms of "culture history" and identifying artefact style by time and place.
14.1.1. This chapter covers the beginnings and unveilings of early stage development of human history. Uncovering artefacts and antiquity of various cultures and backgrounds.
15. Chapter 6: Form
15.1. "According to Joan Vastokas used a structural " cognitive approach to look at Northwest Coast culture. She came to some very different conclusions to Levi-Strauss about its underlying structures of meaning by examining it in the context of the culture as a whole."
15.1.1. Anthropologist treat form of artefacts as the basis of a subjective aesthetic and try to create theories and identify a more complex pattern when studying culture.