Thursday, October 9, 2014

The Philosophers Magazine - The Philosophers' Magazine on the web

Atheism Rises

Russell Blackford reviews Mitchell Stephens’ compelling and pleasing account of the origin and rise of atheism. 
Imagine There’s No Heaven: How Atheism Helped Create the Modern World, by Mitchell Stephens (New York: Palgrave Macmillan, 2014, ISBN 978-1-137-00260-0). 328 pp. Hardcover, US$30.00.
American journalist and academic Mitchell Stephens has provided us with a fine historical study of the rise of atheism and the widespread decline, over the past two centuries, of sincere, naïve religious belief. Church attendances and professions of faith have somewhat held up in the relatively pious United States of America – as compared to other industrialized countries, especially those of Europe – but even in the US there has been a discernible withdrawal of the sea of faith. Throughout the Western world and in many non-Western countries, fewer of us show a wholehearted trust in supernatural dogmas. Indeed, outright atheism is now attractive, prevalent, and even fashionable.
How could this have happened, given the Christian hegemony throughout Europe at the beginning of Western modernity in the sixteenth and seventeenth centuries? Even within living memory, there has been a large-scale loss of faith. How did that happen?
Imagine There’s No Heaven should sit next to Charles Taylor’s A Secular Age (2007) and Gavin Hyman’s A Short History of Atheism (2010). These examine much the same course of events and tendencies, but from viewpoints more sympathetic than that of Stephens to the claims of religion. Taylor, in particular, is a practising Catholic, though his book offers a magisterial and largely objective account of the rise of non-belief over the past five hundred years. Hyman digs further back into history, again offers a largely objective account, but views modern atheist thought as largely unnecessary: as a rejection of theological positions that never should have thrived in the first place. (Hyman seems to like the idea of an indescribable, undefinable, generally ineffable God.)
My own book, 50 Great Myths About Atheism (2013), co-authored with Udo Schuklenk, includes a final chapter of nearly 50 pages covering the origins and rise of atheism. This is written from a viewpoint based more than any of the above in atheistic philosophy of religion. I clearly have a dog in this fight, but I also think it’s useful to consider the historical trajectory of atheism and other forms of non-belief from a range of viewpoints. We all have biases, and it’s notoriously easy to “read” the historical record in ways that confirm them.
Stephens’ book begins with a detailed and useful look at non-belief in classical Western antiquity and ancient India. From there it works forward through medieval Europe, the emergence of modern science, and the Age of Enlightenment, to more recent historical events and their participants, and finally to present-day sociological trends. In explaining the rejection of religion by isolated individuals living within religious milieux – and more recently by entire secularizing societies – Stephens identifies five varieties of irreligious thought, or perhaps these are better regarded as psychological factors undermining religion’s credibility. They are worth a brief summary (in fact, one minor fault of the book is that it never lists them together in a clear way):
1. Robust, commonsense skepticism expressed by the thought how can that be? when the claims of religion just don’t seem logical or fail to connect with our understanding of how things happen in the everyday, practical world.
2. The anacreontic philosophy (after the pleasure-loving Greek poet Anacreon), a simple, joyous, often anti-religious approach to life with a commitment to living with intensity and exuberance. Variants of this philosophy identify human flourishing with quieter, more tranquil, but nonetheless real pleasures – as in the philosophical system of Epicurus and his followers.
3. An inclination to seeking natural explanations of human actions and the phenomena of the observable world. As more events can be explained in this way, rational understandings tend to replace and render redundant the old supernatural ones. Soon, the human tendency to believe in gods can itself become a topic for rational inquiry. According to Stephens, this process sometimes develops as a virtuous cycle: a tendency to disbelieve in supernatural beings encourages the search for natural explanations, while successes in finding such explanations further undermine belief in supernatural beings. Thus, science and reason disenchant nature, diminishing the role assigned to God or the gods and tending to erode religion’s perceived authority.
4. A response to the real hell of political and economic repression often associated with religion. As Stephens tells the story, Enlightenment thinkers were correct to view the Christian churches as complicit in social evils. They were guilty of repressing individual freedoms and far too closely involved in the terrible conditions endured by the poor and otherwise marginalized. While most people in Europe lived in a real hell, eschatological fantasies of Heaven, Hell, and divine judgment distracted them from doing much about it.
5. Yearnings for an open sea (to adopt some words from Nietzsche). These have inspired more recent artists, philosophers, scientists, political thinkers, and other creative individuals. Many have yearned to be free from old dogmas and traditions – free to create the culture, knowledge base, and politics of the modern world.
These varieties of irreligion are, I think, somewhat impressionistic, and Stephens himself would not claim that they exhaust the reasons for atheism’s successes over recent centuries and decades. There is doubtless much to say about the effects of urbanization, economic growth, increasing personal security, and many other complex causal factors. Nonetheless, all five – how-can-that-be? skepticism; the anacreontic philosophy; increasingly successful quests for natural explanations; religion’s complicity in the real hell of social and political repression; and our modern yearnings for an open sea – appear to be genuine phenomena, apparent in the cultural and political record.
Thus, the account rings true and aids our understanding.

A Video-Art Exhibition in Germany by Ethiopian Curator Meskerem Assegued


Curated 

by Meskerem Assegued the show at the Dresden State Art Collections museum in Dresden, Germany (October 17, 2014 to January 4, 2015) also features work by Ethiopian artist Abel Tilahun.Tadias MagazineBy Tadias Staff
Updated: October 1st, 2014
New York (TADIAS) – A video-art exhibition
by Ethiopian anthropologist and curator Meskerem
 Assegued, Founder and Director of Zoma Contemporary
 Art Center in Addis Ababa, opens this month at
Germany’s Dresden State Art Collections 

(Staatliche Kunstsammlungen Dresden) — one of the ol
dest museum and cultural institutions in the world. The show 
dest museum and cultural institutions in the world. The show entitled “Curv

ature of Events” is an analysis of European art history as interpreted by 

contemporary video artists, including Ethiopian-born animator Abel Tilahun 

who teaches at American University in Washington D.C.

“The exhibition is a window into the way Renaissance, Baroque and Romantic 

artists depicted their society and how artists of our time interpret that perception

 relating it to the present,” the museum announced. “The curator’s selection and 

interpretation of the pieces is influenced by a different cultural background than the 

artists who created them. The curator invited three video artists to look at the selected 

works and to choose those that interested them most. The video artists used modern

 media to create a contemporary reaction to art from an earlier time.”
In addition to Abel Tilahun the other artists featured in the exhibition include Gunter

 Deller of Germany and Barbara Lubich from Italy. The museum notes that Mesk

erem came up with the idea for “Curvature of Events” during a visit to Dresden

 (sponsored in collaboration with the Goethe-Institut Sub-Sahara Africa) to do research 

and to develop a concept for an exhibition there. The video display is based on pieces 

she selected from the permanent collections at the Old Masters Gallery and the 

Albertinum dating from the mid-1500s to the early 1900s but excluding the last 100 

years from 1914 to 2014.
Meskerem has worked with several prestigious art festivals including Venice Bien

nale (2007), Dak-Art Biennale (2004), as well as organizations such as the Smithso

nian National Museum of African Art and Santa Monica Museum of Art. “Meskerem 

Assegued’s curatorial career goes back over twenty years,” states the press release.

 “During the last sixteen years she has curated several exhibitions in Europe, Africa 

and North America. She is interested in contemporary artistic expressions that deal 

with historical and socio-cultural contexts. She believes all social issues are relevant 

everywhere regardless of socio-political, socio-economic and geographical differences.”

Cave paintings change ideas about the origin of art


Scientists have identified some of the earliest cave paintings
produced by humans.
Maxime Aubert looking at cave art
The artworks are in a rural area on the Indonesian Island of Sulawesi.
Until now, paintings this old had been confirmed in caves only in Western Europe.
Researchers tell the journal Nature that the Indonesian discovery transforms
 ideas about how humans first developed the ability to produce art.
Handprint 1
Australian and Indonesian scientists have dated layers of stalactite-like growths that
have formed over coloured outlines of human hands.
Early artists made them by carefully blowing paint around hands that were pressed
tightly against the cave walls and ceilings. The oldest is at least 40,000 years old.
Wild PigThis painting, from Bone, is of a variety a wild endemic dwarfed bovid found only in Sulawesi, which the inhabitants probably hunted
There are also human figures, and pictures of wild hoofed animals that are found only on the island. Dr Maxime Aubert, of Griffith University in Queensland, Australia, who dated the paintings found in Maros in Southern Sulawesi, explained that one of them (shown immediately below) was probably the earliest of its type.
Oldest ArtAt the top of the worn painting is a faint outline of a human hand. Below it is possibly the earliest depiction of an animal
"The minimum age for (the outline of the hand) is 39,900 years old, which makes
it the oldest hand stencil in the world," said Dr Aubert.

Start Quote

This find enables us to get away from this Euro-centric view of a creative explosion that was special to Europe”
Prof Chris StringerNatural History Museum
"Next to it is a pig that has a minimum age of 35,400 years old, and this is one of the oldest figurative depictions in the world, if not the oldest one," he told BBC News.
There are also paintings in the caves that are around 27,000 years old, which means that the inhabitants were painting for at least 13,000 years.
In addition, there are paintings in a cave in the regency of Bone, 100 km north of Maros. These cannot be dated because the stalactite-like growths used to determine the age of the art do not occur. But the researchers believe that they are probably the same age as the paintings in Maros because they are stylistically identical.
The discovery of the Indonesian cave art is important because it shows the beginnings of human intelligence as we understand it today.
1. Click on links that appear in the video below to explore the story in 
more depth with Pallab on location in caves in Britain.
2. Return to the main video by clicking on the box/image, bottom right.

INTERACTIVE VIDEO A new way of watching video – 
click or touch on the panels when they appear

Production by Julius Peacock, Anna-Marie Lever and John Lawrence
This interactive video is optimised for use in Chrome, Firefox and 
Safari browsers on PC and Mac, as well as Chrome and Safari on iPads.
 It will not display in Internet Explorer browsers, on iOS or Android mobile de
vices, or Android tablets.

Truly human
Art and the ability to think of abstract concepts is what distinguishes our species from
other animals - capabilities that also led us to use fire, develop the wheel and come up with the other technologies that have made our kind so successful.
Its emergence, therefore, marks one of the key moments when our species became
 truly human.
The dating of the art in Sulawesi will mean that ideas about when and where this
pivotal moment in our evolution occurred will now have to be revised.
Handprint2
Compare the painting above from Bone with the one immediately below, which is
 from El Castillo cave in northern Spain, and dated to be 37,300 years old by
researchers at Bristol University.
Spanish Hands
The Sulawesian and Spanish paintings look very similar, and they are both
about the same age.
For decades, the only evidence of ancient cave art was in Spain and
southern France. It led some to believe that the creative explosion
 that led to the art and science we know today began in Europe.
But the discovery of paintings of a similar age in Indonesia shatters this view,
according to Prof Chris Stringer of the Natural History Museum in London.
"It is a really important find; it enables us to get away from this Euro-centric view
of a creative explosion that was special to Europe and did not develop in other
parts of the world until much later," he said.

Start Quote

If Sulawesi is anything to go by a crucial part of the human story could be right under our noses”
Dr Adam BrummGriffith University
The discovery of 40,000-year-old cave paintings at opposite ends of the globe suggests that the ability to create representational art had its origins further back in time in Africa, before modern humans spread across the rest of the world.
"That's kind of my gut feeling," says Prof Stringer. "The basis for this art was there 60,000 years ago; it may even have been there in Africa before 60,000 years ago and it spread with modern humans".
Dr Adam Brumm, who is the co-leader of the Sulawesi research, believes many well-known sites in Asia, and as far away as Australia, contain art that is extremely old but which has not yet been accurately dated.
"If Sulawesi is anything to go by, where cave art was first recorded over half a century
ago but was assumed to be young, a crucial part of the human story could be right
under our noses" he said.
Dr Muhammad Ramli, an archaeologist working with the Makassar branch of Indonesia's Preservation for Heritage Office, said that the Sulawesian paintings in Maros were being
eroded by the pollution coming from an upsurge in local industrial activities.
"In the beginning of the 1980s, there were a lot of cave paintings on this site in the
 form of hand stencils, as you can see right now. Presently, a lot has been damaged.
"There is a strong necessity to conduct conservation studies in order to find the
 best way of preserving these sites so that the paintings may last," he told BBC News.
Follow Pallab on Twitter
Footage and still pictures for the interactive video courtesy of: 
University of Bristol for the Spanish cave drawing still, Maxime 
Aubert for the Indonesian cave drawing stills, Kinez Riza for the 
Indonesian cave footage and the still of the mammoth sculpture, 
the National Museum and Research Centre of Altamira for the 
Spanish cave footage and Auscape for Australian cave art still. 
The video was filmed at Kents Cavern in Torquay. 
http://www.kents-cavern.co.uk/