4.1 To Think, We Must Split up the World: A History of 20th Century Theories of Categorization

Dilettantery

Sources: https://old.reddit.com/r/DilettanteryPodcast/comments/zcz9rd/41_to_think_we_must_split_up_the_world_a_history/?

51:57

On the Season 2 debut of Lost Cultures: Living Legacies , we travel to Bermuda, an Atlantic island whose history spans centuries and continents. Once uninhabited, Bermuda became a vital stop in transatlantic trade, a maritime stronghold, and a cultural crossroads shaped by African, European, Caribbean, and Native American influences. Guests Dr. Kristy Warren and Dr. Edward Harris trace its transformation from an uninhabited island to a strategic outpost shaped by shipwrecks, colonization, the transatlantic slave trade, and the rise and fall of empires. Plus, former Director of Tourism Gary Phillips shares the story of the Gombey tradition, a vibrant performance art rooted in resistance, migration, and cultural fusion. Together, they reveal how Bermuda’s layered past continues to shape its people, culture, and identity today. You can also find us online at ⁠travelandleisure.com/lostcultures Learn more about your ad choices. Visit podcastchoices.com/adchoices…

3 years ago 1:14:46

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-“What, If Anything, is a Zebra?” by Stephen Jay Gould, 1983

"To change the concept of category itself is to change our understanding of the world.”

-Women, Fire, and Dangerous Things, by George Lakoff, 1987

48 episodes

#Society #Sean Zabashi

4.1 To Think, We Must Split up the World: A History of 20th Century Theories of Categorization

Dilettantery

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published 3 years ago

M4A•Episode home

-“What, If Anything, is a Zebra?” by Stephen Jay Gould, 1983

"To change the concept of category itself is to change our understanding of the world.”

-Women, Fire, and Dangerous Things, by George Lakoff, 1987

Sources: https://old.reddit.com/r/DilettanteryPodcast/comments/zcz9rd/41_to_think_we_must_split_up_the_world_a_history/?

48 episodes

#Society #Sean Zabashi

All episodes

Dilettantery

1
3.12 Why were children and local guides better at seeing cave art than expert prehistorians before 1902? Part 3: Learning to See Nggwalndu and Paintings with the Abelam of Papua New Guinea 1:02:44

2 years ago1:02:44

1:02:44

“The plain fact is that a picture, to represent an object, must be a symbol for it, stand for it, refer to it; and that no degree of resemblance is sufficient to establish the requisite relationship of reference. Nor is resemblance necessary for reference; almost anything may stand for anything else….The eye comes always ancient to its work, obsessed by its own past and by old and new insinuations of the ear, nose, tongue, fingers, heart and brain. It functions not as an instrument self-powered and alone, but as a dutiful member of a complex and capricious organism. Not only how but what it sees is regulated by need and prejudice. It selects, rejects, discriminates, associates, classifies, analyzes, constructs. It does not so much mirror as take or make; and what it takes and makes it sees not bare, as items without attributes, but as things, as food, as people, as enemies, as stars, as weapons. Nothing is seen nakedly or naked.” -Nelson Goodman “…the Abelam do not ask what a painting means. The design elements all have names and they are assembled into harmonious compositions, which appear to act directly on the beholder without having to be named. Abelam art is about relationships, not about things. One of its functions is to relate and unite disparate things in terms of their place in the ritual and cosmological order. It does this, I would suggest, directly and not as an illustration to some text based in another symbolic system such as language. One of the main functions of the initiation system with its repetetive exposure of initiates to quantities of art is, I would suggest, to teach the young men to see the art, not so that he may consciously interpret it but so that he is directly affected by it.” -Anthony Forge…

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3.11 Why were children and local guides better at seeing cave art than expert prehistorians before 1902? Part 2: Ludwik Fleck, Thought Styles and Thought Collectives 1:07:06

2 years ago1:07:06

1:07:06

“Of all things the measure is Man, of the things that are, that they are; and of the things that are not, that they are not.” -Protagoras, fragment 80 (the Homo Mensura fragment) “Through logos humanity truly is the measure of everything. Only that which can be experienced as something is, and that which can not be thus experienced is not.” -Mats Rosengren's updated, clearer version of Protagoras' fragment ‘When a cave supports a mountain on rocks deeply eroded from within, not made by human hand, but excavated to such size by natural causes, your soul is seized by a religious apprehension.’ -Seneca, quoted in Caves and the Ancient Greek Mind by Yulia Ustinova (2009) “Genuinely, we know nothing: the truth is in the depth” -Democritus, fragment 117…

Dilettantery

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3.10 Why were children and local guides better at seeing cave art than expert prehistorians before 1902? Part 1: Protagoras vs Plato, Episteme vs Doxa 1:15:59

2 years ago1:15:59

1:15:59

"Reality is what we take to be true. What we take to be true is what we believe. what we believe is based upon our perceptions. What we perceive depends on what we look for. What we look for depends on what we think. What we think depends on what we perceive. What we perceive determines what we believe. What we believe determines what we take to be true. What we take to be true is our reality." -Bohm, 1977 "...without the making of theories I am convinced there would be no observation" -Darwin, 1860 letter to Lyell "It is only the nonbeliever who believes that the believer believes." -Jean Pouillon "To believe is to know you believe, and to know you believe is not to believe." -Sartre…

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3.9 David Lewis-Williams Part 3: A Temporary Death or A Foreign Life? 1:23:13

2 years ago1:23:13

1:23:13

“Sometimes I have entered this world of darkness alone, or remained behind alone to finish taking notes or measurements. It is hard to admit, but such occasions are always accompanied by flashes of indefinable apprehension. The comfort you may find in the ray of light from the headlamp is disturbed by the pressure of the darkness that is always behind you – shadows seem to advance from all parts that are not lit up. The shaky well-being you may find in the beam of light is disrupted by the fact that it also makes you very visible, vulnerable, a highlighted eye-catcher for nameless things you are not able to see. It is ten times the uneasy feeling of being the ‘target’ in the child’s game where all the others try to get closer each time you turn your back on them, and you wait for the uneasy moment when you are touched by the winner. It is tempting to slip away from this by switching off the light, and entering a state of a peaceful nothingness that normally is not reached by living persons without the use of strong mind altering drugs. It is like being dead or unborn…On several occasions I have experienced the paralysing anxiety which today is known as ‘claustrophobia’. For me it is like a sudden horrible stench – one that is not noticeable until it is too late, at er you have inhaled it and it is inside you….Perhaps humans long ago also recognized, named, and had their own explanation for this phenomenon? Did they sense this as something coming from within themselves – or as entities in the cave itself?” ~Hein Bjerck “At first, we are children of the darkness. Your body and your face were formed first in the kind darkness of your mother’s womb. You lived the first nine months in there. Your birth was the first journey from darkness into light. All your life, your mind lives within the darkness of your body. Every thought you have is a flint moment, a spark of light from your inner darkness. The miracle of thought is its presence in the night side of your soul; the brilliance of thought is born of darkness. Each day is a journey. We come out of the night into the day. All creativity awakens at this primal threshold where light and darkness test and bless each other. You only discover the balance in your life when you learn to trust the flow of this ancient rhythm.” ~John O' Donohue Rock art links to explore: https://old.reddit.com/r/DilettanteryPodcast/comments/y1i1x6/rock_art_threads/ Sources: https://old.reddit.com/r/DilettanteryPodcast/comments/10hcgv8/39_david_lewiswilliams_part_3_a_temporary_death/?…

Dilettantery

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3.8 David Lewis-Williams Part 2: North American Shamanic Rock Art and Other Ways to Conclude Homo Sapiens is Homo Aestheticus 57:40

2 years ago57:40

57:40

(episode 3.7 is part 1) “People did not ‘invent’ two-dimensional images; nor did they discover them in natural marks. On the contrary, their world was already invested with two-dimensional images...The first two-dimensional images were thus not two dimensional representations of three-dimensional things in the material world, as researchers have always assumed...For the makers, the paintings and engravings were visions, not representations of visions – as indeed was the case for the southern African San and the North American shamans...They were not inventing images. They were merely touching what was already there.” -David Lewis-Williams From far, from eve and morning/ And yon twelve-winded sky,/ The stuff of life to knit me/ Blew hither: here am I./ Now—for a breath I tarry/ Nor yet disperse apart—/ Take my hand quick and tell me,/ What have you in your heart./ Speak now, and I will answer;/ How shall I help you, say;/ Ere to the wind's twelve quarters/ I take my endless way. ~A.E. Housman Rock art links to explore: https://old.reddit.com/r/DilettanteryPodcast/comments/y1i1x6/rock_art_threads/ Sources: https://old.reddit.com/r/DilettanteryPodcast/comments/10hcgaw/38_david_lewiswilliams_part_2_north_american/?…

Dilettantery

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3.7 How 19th Century Shamans Gave the 21st Century a New Theory of Rock Art (With the Help of 20th Century Science) 1:19:09

3 years ago1:19:09

1:19:09

"The /Xam San spoke of the rain as an animal. A rain-bull the thunderstorm that roared and destroyed the people’s huts; a raincow the gentle, soaking rain; columns of rain falling beneath a thunderstorm were called the ‘rain’s legs’—the rain was said to walk across the land." (discussed at 59:36: https://twitter.com/DilettanteryPod/status/1582459918418071552) rock art discussed at 55:20: https://twitter.com/DilettanteryPod/status/1582459942589857797/photo/1 rock art discussed at 1:09:20: https://twitter.com/DilettanteryPod/status/1582459938802388992/photo/1 rock painting of trance dance: https://twitter.com/DilettanteryPod/status/1582459942589857797/photo/1 "For the makers, the paintings and engravings *were* visions, not representations of visions." -James David Lewis-Williams "High at the head a branching olive grows/ And crowns the pointed cliffs with shady boughs./ A cavern pleasant, though involved in night,/ Beneath it lies, the Naiades delight:/ Where bowls and urns of workmanship divine/ And massy beams in native marble shine;/ On which the Nymphs amazing webs display,/ Of purple hue and exquisite array,/ The busy bees within the urns secure/ Honey delicious, and like nectar pure./ Perpetual waters through the grotto glide,/ A lofty gate unfolds on either side;/ That to the north is pervious to mankind:/ The sacred south t'immortals is consign'd.” -Homer, Odyssey Sources: https://old.reddit.com/r/DilettanteryPodcast/comments/zlhzkk/37_how_19th_century_shamans_gave_the_21st_century/?…

Dilettantery

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3.6 Two Beginnings: A Standard History of Modern Cave Wall Art Studies 39:09

3 years ago39:09

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"Deep in the timecrevasse, in the honeycomb-ice, waits a breathcrystal, your unalterable testimony." -Paul Celan “When you do an archaeological excavation, you usually find what people left behind, their trash. But when you look at rock art, it’s not rubbish—it seems like a message, we can feel a connection to it.” -Maxime Aubert "When a cave supports a mountain on rocks deeply eroded from within, not made by human hand, but excavated to such size by natural causes, your soul is seized by a religious apprehension." -Seneca Sources: https://old.reddit.com/r/DilettanteryPodcast/comments/zd0ou9/36_two_beginnings_a_standard_history_of_modern/?…

Dilettantery

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4.1 To Think, We Must Split up the World: A History of 20th Century Theories of Categorization 1:14:46

3 years ago1:14:46

1:14:46

"Some of our most common and comforting groups no longer exist if classifications must be based on cladograms [evolutionary branching diagrams] .... I regret to report that there is surely no such thing as a fish.” -“What, If Anything, is a Zebra?” by Stephen Jay Gould, 1983 "To change the concept of category itself is to change our understanding of the world.” -Women, Fire, and Dangerous Things, by George Lakoff, 1987 Sources: https://old.reddit.com/r/DilettanteryPodcast/comments/zcz9rd/41_to_think_we_must_split_up_the_world_a_history/?…

Dilettantery

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3.5 Deleuze and Guattari and Cave Art Part 2: Beyond Abstraction and Representation There Is a Cave, I’ll Meet You There 1:20:56

3 years ago1:20:56

1:20:56

https://twitter.com/PersianPoetics/status/1261745279860080641 [The Northern Line or the Gothic Line] “is a line that passes between things and, in the process, imbues the figures of people, animals, plants, etc. with a common nervous and frenetic energy. Its movement gives birth to a dynamic and chaotic geometry of diagonals, jagged edges, and swirling lines that actively construct space rather than merely describing it. This nomadic line connects and assembles heterogeneous elements while maintaining them as heterogeneous. Thus, space is assembled piece by piece, with each piece of space having its own internal geometrical coordinates, its own temporal rhythms, and its own dramatic intensities.” -Darren Ambrose “Man betrayed the prophetic advice of his ancestors, who adopted the law of migration, believing the sedentary are the only dead ones, since they alone possess bodies that arouse the earth’s greed. Nomadic people, who never stay anywhere or settle down on the earth, own nothing to provoke the earth or arouse its greed. They possess nothing: no gear, no walls, no bodies, not even dreams. All they possess is their voyage, nothing more. They possess a single riddle, over which the earth holds no sway and for which the lowlands can offer no explanation. This is deliverance.” -Ibrahim al-Koni “He who has attained to only some degree of freedom of mind cannot feel other than a wanderer on the earth – though not as a traveller to a final destination: for this destination does not exist. But he will watch and observe and keep his eyes open to see what is really going on in the world; for this reason he may not let his heart adhere too firmly to any individual thing; within him too there must be something wandering that takes pleasure in change and transience. Such a man will, to be sure, experience bad nights, when he is tired and finds the gate of the town that should offer him rest closed against him; perhaps in addition the desert will, as in the Orient, reach right up to the gate, beasts of prey howl now farther off, now closer to, a strong wind arise, robbers depart with his beasts of burden. Then dreadful night may sink down upon the desert like a second desert, and his heart grow weary of wandering. When the morning sun then rises, burning like a god of wrath, and the gate of the town opens to him, perhaps he will behold in the faces of those who dwell there even more desert, dirt, deception, insecurity than lie outside the gate – and the day will be almost worse than the night. Thus it may be that the wanderer shall fare; but then, as recompense, there will come the joyful mornings of other days and climes, when he shall see, even before the light has broken, the Muses come dancing by him in the mist of the mountains, when afterwards, if he relaxes quietly beneath the trees in the equanimity of his soul at morning, good and bright things will be thrown down to him from their tops and leafy hiding-places, the gifts of all those free spirits who are at home in mountain, wood and solitude and who, like him, are, in their now joyful, now thoughtful way, wanderers and philosophers. Born out of the mysteries of dawn, they ponder on how, between the tenth and the twelfth stroke of the clock, the day could present a face so pure, so light-filled, so cheerful and transfigured: – they seek the philosophy of the morning.” -Nietzsche, Human, All too Human (I, §638) [Enlightenment philosophers] “left us with a notion of matter as passive and inert, while the human mind was seen as active and creative” Bjørnar Olsen (2007) Rock art threads: https://old.reddit.com/r/DilettanteryPodcast/comments/y1i1x6/rock_art_threads/ Sources/place for discussion: https://old.reddit.com/r/DilettanteryPodcast/comments/y59149/35_deleuze_and_guattari_and_cave_art_part_2/?…

Dilettantery

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3.4 Deleuze and Guattari and Cave Art Part 1: Primeval Magma of Life and "Another history which is still ours [that operates like] fires answering one another in the night." 1:11:37

3 years ago1:11:37

1:11:37

How My Poetry Comes To Me by Gary Snyder, 1992 "It comes blundering over the / Boulders at night, it stays / Frightened outside the / Range of my campfire / I go to meet it at the / Edge of the light" Warning: This episode is me trying to figure out complicated philosophy. If that's not your thing you can skip to episode 3.6 without missing anything. Example of the "primeval magma of life": https://twitter.com/DilettanteryPod/status/1541657274438914048 “For Lorblanchet, these lines and marks indicate a clear metaphysical intention – ‘a primeval magma where all living and imaginary beings merge in formal games.’ Thus, these indeterminate lines and marks contain potentialities for the becoming of latent figural images and as such are, for Lorblanchet, a crucial element within the prehistoric figuration of a mythology of creation. Here, the figurative components are born from a formless tangle or magma, e.g., from the formless web of subsidiary lines, perhaps a hoof or an antler emerges, perhaps a muzzle or a creature’s spine, perhaps an eye stares out from the depths of the graphic chaos. The seemingly incohesive graphic chaos is seemingly vibrant with emergent forms of Life.” -Darren Ambrose “In art, and in painting as in music, it is not a matter of reproducing or inventing forms, but of capturing forces.... The task of painting is defined as the attempt to render visible forces that are not themselves visible.” -Gilles Deleuze (Francis Bacon, 1981) Rock art threads: https://old.reddit.com/r/DilettanteryPodcast/comments/y1i1x6/rock_art_threads/ Sources/place for discussion: https://old.reddit.com/r/DilettanteryPodcast/comments/y4xaxo/34_deleuze_and_guattari_and_cave_art_part_1/?…

Dilettantery

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3.3 The Origin of Art or Homo Aestheticus? Part 2: A Japanese Mirror, The Aesthetic Mode of Consciousness, Homo faber, and Ochre 1:28:24

3 years ago1:28:24

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"Amédée Ozenfant wrote of the art in the Les Eyzies caves, 'Ah, those hands! Those silhouettes of hands, spread out and stencilled on an ochre ground! Go and see them. I promise you the most intense emotion you have ever experienced.' He credited the Paleolithic artists with inspiring modern art, and to a certain degree, they did. Jackson Pollock honoured them by leaving handprints along the top edge of at least two of his paintings. Pablo Picasso reportedly visited the famous Altamira cave before fleeing Spain in 1934, and emerged saying: 'Beyond Altamira, all is decadence.'" -Barbara Ehrenreich "Should we not say that we make a house by the art of building, and by the art of painting we make another house, a sort of man-made dream produced for those who are awake?" -Plato, Sophist "The aim of an artist is not to solve a problem irrefutably, but to make people love life in all its countless, inexhaustible manifestations." -Leo Tolstoy, Virgo "I am a great believer in the creativity of the selective, perceptive act. I once read an article in the International Herald Tribune about a man named Jean-Claude Andrault who had an exhibit, in a small Paris museum, of various pieces of wood he had found over a many-decade span, which resembled all sorts of objects: “landscapes, writhing polyps, an erupting volcano, abstract visions and so on", to quote Michael Gibson, the author of the article. In fact, let me continue quoting Gibson’s opinions: 'He [Andrault] wanted to know if I thought these objects were art I said I did not — because they do not voice any human intention. These objects are a case of nature imitating art...But a work of art in its proper dimension is more than order, pattern, suggestion It conveys an intention and thus reveals itself to be a product and an expression of culture taken as the web of all human purposefulness.' Gibson clearly likes Andrault’s stuff — he just doesn’t consider it art. I find this absurd. In a sense I agree that art has to 'voice a human intention', but the act of selection by Andrault is a deep human intention, just as deep as a photographer’s selection of a scene or an event to capture. In fact, Gibson overlooks one further level of human intention: the very idea of collecting pieces of wood and exhibiting them is an excellent example of original human intention. Indeed, it's the invention of a whole new art form!” -Douglas Hofstadter, Le Ton beau de Marot “The very first artistic act executed by man was one of adornment and, above all, the adornment of his own body. In adornment, that primordial art, we find the seeds of all subsequent art. And that first artistic act simply consisted of the union of two works of nature that nature itself had not united. Man placed a feather upon his head, or strung together tiger's teeth to hang about his neck, or clasped a bracelet of colorful stones around his wrist; and behold, the first babblings of that complex and divine discourse on art.” -José Ortega y Gasset, Meditations on the Frame (1990) Sources/place for discussion: https://old.reddit.com/r/DilettanteryPodcast/comments/y3ixbp/33_the_origin_of_art_or_homo_aestheticus_part_2_a/?…

Dilettantery

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3.2 The Origin of Art or Homo Aestheticus? Part 1: Pareidolia, Hunter-Gatherer Mimicry, and the Assumptions Hiding in the Word "Art" 1:11:08

3 years ago1:11:08

1:11:08

“The modern system of art is not an essence or fate but something we have made. Art as we have generally understood it is a European invention barely two hundred years old. It was proceeded by a broader, more utilitarian system of art that lasted over two thousand years, and it is likely to be followed by a third system of the arts.” -Larry Shiner, The Invention of Art: A Cultural History (2001) (What do you think this third system of the arts would look like?) "...a therianthrope combining a feline body, human hind legs and Oryx horns.” -Archaeologist Juergen Richter describing a figure painted on a stone slab in Namibia 25 000 years ago (New Excavations of Middle Stone Age Deposits at Apollo 11 Rockshelter, Namibia: Stratigraphy, Archaeology, Chronology and Past Environments, (2010)) "...The artist's gift is of this order. [They are the person] who has learned to look critically, to probe [their] perceptions by trying alternative interpretations both in play and in earnest. Long before painting achieved the means of illusion, [humans were] aware of ambiguities in the visual field and had learned to describe them in language. Similes, metaphors, the stuff of poetry no less than of myth, testify to the powers of the creative mind to create and dissolve new classifications. It is the unpractical [person], the dreamer whose response may be less rigid and less sure than that of his more efficient fellow, who taught us the possibility of seeing a rock as a bull and perhaps a bull as a rock. And artist of our own day, Georges Braque, has recently spoken of the thrill and awe with which he discovered the fluidity of our categories, the ease with which a file can become a shoehorn, a bucket a brazier." -E.H. Gombrich, Art and Illusion (1962) “The secret of the day and night is in The constellations, which forever spin Around each other in the comet-dust;— The comet-dust and humankind are kin.” -Abū al-ʿAlāʾ al-Maʿarrī (973-1057 CE) See many of the hunter disguises mentioned in this thread (and follow @evolving_moloch/https://traditionsofconflict.substack.com/): https://twitter.com/Evolving_Moloch/status/1448229624899457027 Sources/place for discussion: https://old.reddit.com/r/DilettanteryPodcast/comments/xstblv/32_the_origin_of_art_or_homo_aestheticus_part_1/?…

Dilettantery

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2.3 Was the Concept of Objectivity Invented in the mid-1800s? Part 3: Kant and Scientific Personae, Structural Objectivity and Trained Judgement 1:29:35

3 years ago1:29:35

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"Objective evidence and certitude are doubtless very fine ideals to play with, but where on this moonlit and dream-visited planet are they found?" -William James “Ways of scientific seeing are where body and mind, pedagogy and research, knower and known intersect…once internalized by a scientific collective, these various ways of seeing were lodged deeper than evidence; they defined what evidence was. They were therefore seldom a matter of explicit argument, for they drew the boundaries within which arguments could take place. Atlases provide a rare and precious glimpse of ways of seeing in the making, as a place where established practices are transmitted and innovations explicitly advanced.” -Daston and Galison Sources and place for discussion: https://old.reddit.com/r/DilettanteryPodcast/comments/xlthqx/23_was_the_concept_of_objectivity_invented_in_the/?…

Dilettantery

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3.1 Prehistoric Animation and Proto-Cinema, The Archaeology of Light and Darkness, and the Thirty-Thousand-Year-Old Holy Movie Theatre 3:27:51

3 years ago3:27:51

3:27:51

Chapter One: Wachtel and Superposition 0:00:00 Chapter Two: Azéma and Thaumatropes 0:22:13 Chapter Three: Gatton and Camera Obscura 0:43:48 Chapter Four: Archaeo-optics 2:16:14 Epilogue: Chauvet Cave 3:19:19 "…the shadows of man and beast flickered huge like ancestral ghosts, which since the days of the caves have haunted the corners of fantasy, but which the electric light has killed." -Laurie Lee, As I Walked Out One Midsummer Morning (1969) “[Lewis Mumford, in 1934,] said that film—with its moving camera, its cuts and superimpositions—displays time and motion in a unique way. Additionally, he linked film's display of time and space to what he called ‘the emergent world-view’ of the twentieth century.” -Edward Wachtel (1993) Follow along with visuals: 0:00:20 The twitter thread mentioned: https://twitter.com/DilettanteryPod/status/1403914695128457219 0:19:50 An example of the "jumble" typical of plaquettes https://twitter.com/DilettanteryPod/status/1548603870711926784 0:24:40 Azéma showing examples of animation-by-superposition in the wild https://twitter.com/DilettanteryPod/status/1528654029793812480 0:33:32 Recreation of bone disc thaumatrope https://twitter.com/DilettanteryPod/status/1528653193336410112 0:39:25 Liliana Janik's interpretation of thaumotrope involving bear paw https://twitter.com/DilettanteryPod/status/1537167816347947008 0:44:20 Thread on Newgrange, Dowth, and Knowth https://twitter.com/DilettanteryPod/status/1545398294800744450 0:49:10 Roofbox at Newgrange https://imgur.com/a/gYP01tJ 1:00:48 Balnuaran of Clava cairns, studied by Ronnie Scott and Tim Phillips in the 1990s: https://imgur.com/a/Nbn0EsH 1:14:30 Camera obscura explanatory diagram https://cdn.shopify.com/s/files/1/1281/0471/files/BONFOTON_Camera_Obscura_Diagram_W2000_WEB.jpg?v=1617094297 1:54:41 Photographs from Ronnie Scott and Aaron Watson's camera obscura experiments across Britain https://imgur.com/a/aQNnqYX 3:08:21 The Bison Man shadow animation (Spain) https://twitter.com/DilettanteryPod/status/1559349567337820160 3:14:45 Pueblo shadow and light animation (thread) https://twitter.com/DilettanteryPod/status/1559821120118747136 3:26:30 Chauvet cave animated: https://twitter.com/DilettanteryPod/status/1528640107078512641 Rock art threads: Rock art threads: https://old.reddit.com/r/DilettanteryPodcast/comments/y1i1x6/rock_art_threads/ Sources/place to discuss: https://old.reddit.com/r/DilettanteryPodcast/comments/x3bh42/31_prehistoric_animation_and_protocinema_the/?…

Dilettantery

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2.2 Was the Concept of Objectivity Invented in the mid-1800s? Part 2: Arthur Worthington's Tragedy, Photography, and Mechanical Objectivity 54:14

3 years ago54:14