Conclusion
The Extended mind
Bibliographic Data
| ID | 23710223 |
|---|---|
| Authors | Alfred Gell (corresponding author) |
| Year | 1998 |
| Pages | 221-258 |
| Publication date | 1998-07-09 |
| Open Access | No |
| Type | CHAPTER |
| Venue | Art and agency (SOURCE_BOOK) |
| Publisher | Oxford University PressOxford (PUBLISHER) |
| DOI | 10.1093/oso/9780198280132.003.0009 |
| OpenAlex | W4388358441 |
| ISBN | 9780198280132 |
| Language | EN |
| Citations received | 3 |
The discussion of Marquesan graphic/plastic stylistics, just concluded, has been founded on the notion of a ‘corpus’ of artworks as a kind of spatiotemporally dispersed ‘population’. Marquesan art, considered as a whole, can be conceptualized, macroscopically, as a ‘distributed object’ in time and space. Like the 216 separate items in a 24-place luxury set of china tea and dinnerware, all .Marquesan artworks belong to a kind of ‘set’, though, of course, a more loosely integrated set than the sets of china which are presented to young couples as wedding presents by rich relatives. A china dinner-set is bound together, as a distributed object (an object having many spatially separated parts with different micro-histories) by prior design, that is, by the intentional actions of the design and manufacturing staff of Spode, or Wedgwood, or who ever.
Aesthetics · Art · China · Literature · Object (grammar) · Population · Programming language · Set (abstract data type) · Sociology · Space (punctuation) · Stylistics · Visual arts · Artificial Intelligence · Computer Science · Crafts, Textile, and Design · Demography · History
| Citations per year | 0.11 |
|---|---|
| Citation span | 1999 - 2007 (9) |
| Highly cited | No |