undrgrnd Cliquez ici Toys KDP nav-sa-clothing-shoes nav-sa-clothing-shoes Cloud Drive Photos cliquez_ici nav_egg15_2 Cliquez ici Acheter Fire Shop Kindle cliquez_ici Jeux Vidéo Gifts
The Mind in the Cave: Consciousness and the Origins of Art et plus d'un million d'autres livres sont disponibles pour le Kindle d'Amazon. En savoir plus
  • Tous les prix incluent la TVA.
Il ne reste plus que 5 exemplaire(s) en stock.
Expédié et vendu par Amazon. Emballage cadeau disponible.
Quantité :1
The Mind in the Cave: Con... a été ajouté à votre Panier
+ EUR 2,99 (livraison)
D'occasion: Bon | Détails
État: D'occasion: Bon
Commentaire: Book ships from USA, takes 4-14 days for delivery. Used book in average shape. Quick shipping, friendly service. Your satisfaction is guaranteed!
Vous l'avez déjà ?
Repliez vers l'arrière Repliez vers l'avant
Ecoutez Lecture en cours... Interrompu   Vous écoutez un extrait de l'édition audio Audible
En savoir plus
Voir les 2 images

The Mind in the Cave: Consciousness and the Origins of Art (Anglais) Broché – 5 avril 2004

1 commentaire client

Voir les formats et éditions Masquer les autres formats et éditions
Prix Amazon
Neuf à partir de Occasion à partir de
Format Kindle
"Veuillez réessayer"
"Veuillez réessayer"
EUR 22,38
EUR 15,24 EUR 12,10
"Veuillez réessayer"
EUR 31,61 EUR 63,58

Idées cadeaux Livres Idées cadeaux Livres

Idées cadeaux Livres
Retrouvez toutes nos idées cadeaux dans notre Boutique Livres de Noël.

Offres spéciales et liens associés

Descriptions du produit

Book by David LewisWilliams

Aucun appareil Kindle n'est requis. Téléchargez l'une des applis Kindle gratuites et commencez à lire les livres Kindle sur votre smartphone, tablette ou ordinateur.

  • Apple
  • Android
  • Windows Phone

Pour obtenir l'appli gratuite, saisissez votre adresse e-mail ou numéro de téléphone mobile.

Détails sur le produit

  • Broché: 320 pages
  • Editeur : Thames & Hudson Ltd; Édition : Reprint (5 avril 2004)
  • Langue : Anglais
  • ISBN-10: 0500284652
  • ISBN-13: 978-0500284650
  • Dimensions du produit: 1,6 x 0,3 x 2,3 cm
  • Moyenne des commentaires client : 5.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
  • Classement des meilleures ventes d'Amazon: 135.905 en Livres anglais et étrangers (Voir les 100 premiers en Livres anglais et étrangers)
  •  Souhaitez-vous compléter ou améliorer les informations sur ce produit ? Ou faire modifier les images?

En savoir plus sur l'auteur

Découvrez des livres, informez-vous sur les écrivains, lisez des blogs d'auteurs et bien plus encore.

Commentaires en ligne

5.0 étoiles sur 5
5 étoiles
4 étoiles
3 étoiles
2 étoiles
1 étoiles
Voir le commentaire client
Partagez votre opinion avec les autres clients

Commentaires client les plus utiles

Format: Broché Achat vérifié
Belle étude sur la signification de l'art paléolithique européen. Bonnes références bibliographiques.
L'hypothèse chamaniques est cependant discutable. Dans l'ensemble un livre qui pose bien les problèmes et fait réfléchir
Remarque sur ce commentaire Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus

Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 29 commentaires
63 internautes sur 67 ont trouvé ce commentaire utile 
Michaelangelo's Palaeolithic roots 5 février 2006
Par Stephen A. Haines - Publié sur Amazon.com
Format: Relié
Any book challenging Established Truths deserves a place in your library. This exquisite example closely and vividly investigates the world of Western European rock art. Not an "art critic's" analysis, Lewis-Williams explains the roots of this enigmatic form of human expression. In so doing, he offers new insights into the idea of "spiritual realms" and the formulation of religions. With research delving in areas ignored or forgotten, the author demonstrates why our views of our Paleolithic forebears needs revision. Of foremost importance is the need to shed the notion of "primitive" as a quality attributed to our ancestors. The cave artists were "modern" humans in every sense of the term.

Lewis-Williams opens his study with a review of the first overturning of how we view humanity's track. Cave art had been found as early as the 17th Century, but the discoverers had no idea of the stretch of time those pictures had crossed. Not until the great insight of Charles Darwin, relying on Lyell's vast idea of an ancient earth, did it become possible to view cave art as remnants of prehistoric human life. The technology that could accurately date these pictures pushed the date of their creation back thousands of years. New finds set human artistic expression to more than 75 thousand years ago.

Lewis-Williams contends that these artefacts are the result of a sharp change in human intellect. About 75 thousand years ago, in various places at different times, the human consciousness experienced an elaboration. The immediate environment no longer was the limit of experience. Humans added what is known as "higher order" consciousness to the "primary consciousness" that allowed us, along with most other animals, to survive. Now, the more developed brain could achieve new levels of thought - "altered states of consciousness" in the author's term. Under certain conditions, the brain might even be imaging itself. Without any means of understanding the images they seemed to be "seeing", Paleolithic humans interpreted these visions as representing a "spirit" world. That world might be "above" in the skies or "below" in the earth. Caves acted as the perfect intermediate place to try to comprehend and react to these phenomena. The more tactile of these "vision-seers" would use the cave walls to depict their visions. Ultimately, the rocks became viewed as a "membrane" between the real and spiritual worlds. The spirits, or "gods" could now be portrayed visibly and even communicated with.

Lewis-Williams meticulously details how many of the paintings and symbols were rendered. The harsh glare of modern electrical lights, he reminds us, obscure the shifting and apparent "movement" that would be observed by people bearing the flickering oil lamps and torches into the caves. That "reality" gave the images greater impact on the artists and viewers as they worked and communed with the spirit world. No universal pattern emerges from these cave "studios", the author makes clear. Some may have allowed a large gathering to participate, either in the creation of images or in supplementary rituals. Others clearly allowed but one or a few attendees due to the restricted nature of the passages or the rooms containing the graphics. These are not, he says, the renderings of a Paleolithic leisure class, but working images vital to the population concerned. Some may have been strictly local, while others served wide-spread communities at various times and circumstances.

With many excellent renderings of cave art images, some in colour, to enhance the text, Lewis-Williams presents a logically developed and well-substantiated scenario. He stops his analysis at what can be seen and inferred from what we know of Paleolithic people. Yet, if you wonder what would drive people into the deep and darkened recesses of a hillside cave, just walk into the nearest cathedral or even small community church. These are dark, quiet places, severing the visitor from the travails and pressures of daily living. Communing with spirits is the raison d'etre of such temples. Are they the modern expression of the forces that drove our Paleolithic ancestors? [stephen a. haines - Ottawa, Canada]
67 internautes sur 74 ont trouvé ce commentaire utile 
Stimulating & Thought-provoking 15 février 2003
Par Peter Uys - Publié sur Amazon.com
Format: Relié
The author posits a fascinating explanation for the origin of art and the creation of images by early mankind: the evolution of the human mind. He theorizes that the people of the Upper Paleolithic harnessed altered states of consciousness to fashion their society and used imagery as a means of establishing and defining social relationships. Cro-Magnon man had a more advanced neurological system and order of consciousness than the Neanderthals, and experienced shamanic trances and vivid mental imagery. It was important for them to paint these images on cave walls that served as a membrane between the everyday world and the realm of the spirit.

Hallucinations were instrumental in personal advancement and the development of society. He refers to the pioneering psychologist William James who already in 1902 pointed out the different states of consciousness and to Colin Martindale who identified the following different states: Waking, realistic fantasy, autistic fantasy, reverie, hypnagogic and dreaming. The sense of absolute unitary being (transcendence/ecstasy) is generated by a spillover between neural circuits in the brain caused by factors like meditation, rhythmic stimulus, fasting etc. The essential elements of the religious experience are thus wired into the brain.

Two case studies are used in support of this theory: South African San rock art and North American rock art. Chapter 8 is especially fascinating since it offers possible solutions to certain puzzles of cave art, like the mixture of representational and geometric imagery. The author believes that the trail of images from the cave entrance to the dark, almost inaccessible recesses represents a connecting link beween the two elements of an "above/below" binary opposition. Physical entry into the caves reflected the entry into the mental vortex that leads to the hallucinations of the deep trance state. In other words, the trail from the conscious mind to the deep recesses of the subconscious.

This book provides much food for thought about our earliest ancestors and about the evolution of consciousness. Graham Hancock's absorbing work Supernatural: Meetings with the Ancient Teachers of Mankind was written in defense of Lewis-Williams' theory. In addition I recommend William James' The Varieties of Religious Experience, R M Bucke's Cosmic Consciousness, Rupert Sheldrake's Chaos, Creativity and Cosmic Consciousness plus Stone Age Soundtracks: The Acoustic Archaeology of Ancient Sites by Paul Devereux as companion reading to Lewis-Williams' fascinating text. The book includes many figures and 97 illustrations of which 27 are in colour.
17 internautes sur 20 ont trouvé ce commentaire utile 
Anatomically and Mentally Modern Humans 29 juin 2003
Par G. Joy Robins - Publié sur Amazon.com
Format: Relié Achat vérifié
David Lewis-Williams has developed a unique insight into the early modern humans that painted the caves of Europe. He reasons that being modern anatomically, the function of their minds that were dependent on brain anatomy must also have been comparable to ours. He makes an excellent case that what we call "altered states of consciousness" were used by ancient shamans to access the spirit world and to interpret it to others in their culture. It is not the real world that is illustrated on the cave walls, but visions and halucinations obtained in various levels of trance. All members of the community could relate to those visions because of common experiences like dreams. For the shamans, this was a source of personal and political power and signaled a stratification of society. The author's ideas are communicated persuasively and interestingly. He makes us think without ever becoming ponderous.
7 internautes sur 7 ont trouvé ce commentaire utile 
I don't understand the hostility directed at this... 25 décembre 2013
Par Rodulf - Publié sur Amazon.com
Format: Broché Achat vérifié
For someone such as myself, having little scientific training but very interested in understanding our long ago ancestors, this book is awesome. Do I agree with everything in it? No, of course. But the basic premise, that most cave art was produced by people undergoing hallucinations, would seem to me beyond debate. We will never know the exact reasons for these paintings but we can be sure of the universal mind states that produced them.
The hostility that I'm addressing seems to be focused on the image on page 140, a San rock art piece. The San people are recognized as some of the most non-violent on Earth. Their culture, and harsh lifestyle, result in very little interpersonal violence. The image in question is seen by Lewis-Williams as a dance scene. Some of you see a violent attack. We can never know, absolutely, what this scene depicts. But I don't see this having any bearing on the core issue of the book. The San people have been persecuted mercilessly by other Black Africans for at least a thousand years. Surely at some point even a basically non-violent people will throw a spear in self-defense. Does this affect the basic investigation of Lewis-Williams into trance-state art? I don't see how, other than to show that anyone, entranced or not, can get pissed off enough to stick a spear in your gut. And, since the San see disease as arrows, darts, etc. sticking into a victims body, there is at least an argument that that is indeed what is depicted here.
In any event, if you are seeking a psychological/spiritual contact with our European ancestors and want to understand how they may have thought and produced such art, then this is a very good book to study. If you are seeking to emulate these mind states, as I am, it is invaluable.
5 internautes sur 5 ont trouvé ce commentaire utile 
Even in caves there is Enlightenment 9 février 2010
Par Michael Murauer - Publié sur Amazon.com
Format: Broché
Did you think up to now that cave art might be of a somewhat remote scientific and cultural interest? Do you still cling to that dualism of the two cultures believing that only science is real science? Read this book and you will forget about that. First you get some interesting lessons in history of sciences the discovery and explanation of paleolithic art can tell. Further on the author sums up briefly but adequately the essentials of a scientific theory of knowledge. A well defendable concept for the development of consciousness and the resulting social changes is presented. Typical stages of altered consciousness link cave art to shamanism and mystical experience as found in the religious tradition ever since. Common neurobiological and neuropsychological mechanisms (which can be also be oberved in near-death experiences by the way) account for all that. It's just a small step from the paleolithic cave to modern neurotheology as pursued by Newberg and others. When it comes to their social impact these phenomenons of the human mind have an ugly and a beautiful face as we know all to well. Lewis-Williams is at once imaginative in his explanations and uncompromising in his philosophical position: We should distinguish between the pleasure we can derive from works of art we owe to religious devotion and "the terrible belief that God ist speaking directly to us and telling us not only how to order our own lives but also to impose that order on other's lives. What is in our heads is in our heads, not located beyond us. That is the crux of the matter, and is does not diminish Bach, Shakespeare, Donne and Wordsworth." (P. 291)
Ces commentaires ont-ils été utiles ? Dites-le-nous


Souhaitez-vous compléter ou améliorer les informations sur ce produit ? Ou faire modifier les images?