This book explores the constructs of collectivism and individualism and the wide-ranging implications of individualism and collectivism for political, social, religious, and economic life, drawing on examples from Japan, Sweden, China, Greece, Russia, the United States, and other countries.

An examination of the differences between collectivists (those who view themselves primarily as part of a whole, and who are motivated by the norms and duties imposed by the collective entity) and individualists (those who are motivated by their own preferences and needs).

This book develops and tests an ecological and evolutionary theory of the causes of human values—the core beliefs that guide people’s cognition and behavior—and their variation across time and space around the world. We call this theory the parasite-stress theory of values or the parasite-stress theory of sociality. The evidence we present in our book indicates that both a wide span of human affairs and major aspects of human cultural diversity can be understood in light of variable parasite (infectious disease) stress and the range of value systems evoked by variable parasite stress. The same evidence supports the hypothesis that people have psychological adaptations that function to adopt values dependent upon local infectious-disease adversity. The authors have identified key variables, variation in infectious disease adversity and in the core values it evokes, for understanding these topics and in novel and encompassing ways. Although the human species is the focus in the book, evidence presented in the book shows that the parasite-stress theory of sociality informs other topics in ecology and evolutionary biology such as variable family organization and speciation processes and biological diversity in general in non-human animals.

The Oxford Handbook of Cognitive Sociology will serve as a resource for social researchers interested in how cognitive sociology can contribute to research within their substantive areas of focus, and for faculty and graduate students interested in cognitive sociology's main contributions and the central debates within the field. In particular, the volume includes a broad range of cognitive sociological perspectives as the classical sociological and newer interdisciplinary approaches to cognition are often covered separately by scholars.

A collection of essays pioneering new concepts in cross-cultural psychology based on the work of Philip E.Vernon, a pioneer of rigorous theory building and careful methodology. It includes empirical studies on aboriginals in Canada and infants in Japan, India, Jamaica and Britain.

“Don’t start an art collective until you read this book.” —Guerrilla Girls “Ever since Web 2.0 with its wikis, blogs and social networks the art of collaboration is back on the agenda. Collectivism after Modernism convincingly proves that art collectives did not stop after the proclaimed death of the historical avant-gardes. Like never before technology reinvents the social and artists claim the steering wheel!” —Geert Lovink, Institute of Network Cultures, Amsterdam “This examination of the succession of post-war avant-gardes and collectives is new, important, and engaged.” — Stephen F. Eisenman, author of The Abu Ghraib Effect “Collectivism after Modernism crucially helps us understand what artists and others can do in mushy, stinky times like ours. What can the seemingly powerless do in the face of mighty forces that seem to have their act really together? Here, Stimson and Sholette put forth many good answers.” —Yes Men Spanning the globe from Europe, Japan, and the United States to Africa, Cuba, and Mexico, Collectivism after Modernism explores the ways in which collectives function within cultural norms, social conventions, and corporate or state-sanctioned art. Together, these essays demonstrate that collectivism survives as an influential artistic practice despite the art world’s star system of individuality. Collectivism after Modernism provides the historical understanding necessary for thinking through postmodern collective practice, now and into the future. Contributors: Irina Aristarkhova, Jesse Drew, Okwui Enwezor, Rubn Gallo, Chris Gilbert, Brian Holmes, Alan Moore, Jelena Stojanovi´c, Reiko Tomii, Rachel Weiss. Blake Stimson is associate professor of art history at the University of California Davis, the author of The Pivot of the World: Photography and Its Nation, and coeditor of Visual Worlds and Conceptual Art: A Critical Anthology. Gregory Sholette is an artist, writer, and cofounder of collectives Political Art Documentation/Distribution and REPOhistory. He is coeditor of The Interventionists: Users’ Manual for the Creative Disruption of Everyday Life. “To understand the various forms of postwar collectivism as historically determined phenomena and to articulate the possibilities for contemporary collectivist art production is the aim of Collectivism after Modernism. The essays assembled in this anthology argue that to make truly collective art means to reconsider the relation between art and public; examples from the Situationist International and Group Material to Paper Tiger Television and the Congolese collective Le Groupe Amos make the point. To construct an art of shared experience means to go beyond projecting what Blake Stimson and Gregory Sholette call the “imagined community”: a collective has to be more than an ideal, and more than communal craft; it has to be a truly social enterprise. Not only does it use unconventional forms and media to communicate the issues and experiences usually excluded from artistic representation, but it gives voice to a multiplicity of perspectives. At its best it relies on the participation of the audience to actively contribute to the work, carrying forth the dialogue it inspires.” —BOMB