Cothey gives a concise and systematic account of the leading philosophical ideas about art and aesthetics from ancient times to the present day.

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In his Natural History, Pliny the Elder organises his discussion of crafts according to the raw materials they utilize. However, scholarly literature has paid little attention to the aspect of materiality, preferring to focus on the biographies and achievements of ancient Greek artists. This collection instead addresses the presentation of artistic processes and their materials in the Natural History. This approach corresponds with current developments in the study of Greco-Roman art, wherein scientific analysis of artistic materials including stones, pigments, and metal alloys, as well as a deeper understanding of workshop practices, has imposed profound changes on the methods used in the study of ancient artefacts.

Christopher Alexander's series of groundbreaking books--including The Timeless Way of Building and A Pattern Language--have illuminated the fundamental truths of traditional ways of building, revealing what gives life and beauty and true functionality to buildings and towns. Now, in The Nature of Order, Alexander delves into the essential properties of life itself, highlighting a common set of well-defined structures that he believes are present in all order--and in all life--from micro-organisms and mountain ranges to the creation of good houses and vibrant communities. In The Phenomenon of Life, the first volume in this masterwork, Alexander ponders the nature of order as an intellectual basis for a new architecture, proposing a well-defined scientific view of the world in which all space-matter has perceptible degrees of life. With this view as foundation, we can ask precise questions about what must be done to create life in the world--"whether in a single room...a doorknob...a neighborhood...even in a vast region." He presents the basic tenets of the concept, expanding on his theories of centers and of wholeness as a structure, and describes the fifteen properties from which he feels wholeness may be built. He also argues that living structure is at once both personal and structural, related not only to the geometry of space and how things work, but to human beings whose lives are ultimately based on feeling. Thus order, as the foundation of all things and as the foundation of all architecture, is both rooted in substance and rooted in feeling. Here then is the culmination of decades of intense thinking by one of the most innovative architects alive.

Presents a theory of art which is at once universal in its general conception and historically-grounded in its attention to aesthetic practices in diverse cultures. Argues that art, especially today, enjoys a special kind of autonomy but that it has, nevertheless, important social and political responsibilities.

No single factor determined the growth of this book. It may have been that as a novice researcher in Behavioral Psychology I experienced growing discontent with the direction of intellectual activity in which the accent was on methodology and measurement, with a distinct atmosphere of dogmatism, insecurity and defensiveness. The anathema of tender-mindedness was attached to any study of mental manifes tations that avoided laboratory confirmation and statistical significance. Man in his uniqueness and unpredictable potentialities remained un explored. Yet outside the systematic vivisection of variables and their measurement men of originality and genius were studying the mind in its complex yet natural interaction of aspirations, values and creative capacities. It was almost too easy for me to turn to them for the re orientation of my psychological interest, and it was not difficult to find in Freud the most daring and penetrating representant of humanistic psychology. Furthermore, it could have been the fact that Freud's thoughts on creative processes appeared to me at once starkly original and yet incomplete and fragmentary, that led me to reconsider and expand on them. Freud's fascination with culture and creativity, although frank and serious, led him to a peculiar indecisiveness and overcautiousness which was radically different from the dramatic boldness of his thera peutic methods and the depth of his personality theories.