A rediscovery of Thoreau’s interactions with everyday objects and how they shaped his thought. Though we may associate Henry David Thoreau with ascetic renunciation, he accumulated a variety of tools, art, and natural specimens throughout his life as a homebuilder, surveyor, and collector. In some of these objects, particularly Indigenous artifacts, Thoreau perceived the presence of their original makers, and he called such objects “mindprints.” Thoreau believed that these collections could teach him how his experience, his world, fit into the wider, more diverse (even incoherent) assemblage of other worlds created and re-created by other beings every day. In this book, Ivan Gaskell explores how a profound environmental aesthetics developed from this insight and shaped Thoreau’s broader thought.

Visual archetypes are the DNA of culture. In artefacts and artworks, where archaeo-astronomers see ancient star maps, archaeologists see cultural traditions, and anthropologists see initiation secrets, appear a standard sequence of types, on an axial grid. Structural archaeology uses constellations as myth maps to find the structure of our perception. All inspired artists, in the Stone, Ice, Bronze and Iron Ages; Babylonians, Egyptians, Chinese, Celts, Mayans, Vikings and moderns, subconsciously express mindprint, our eternal artefact. The sixteen clusters of attributes are demonstrated in 200 examples of famous art and rock art works from every continent and culture. Archetypes are statistically proven, and their 'camouflage' is explained in terms of archaeology, anthropology, art history, psychology, philosophy, archaeo-astronomy, esoterica and spirituality. Readers will never look at art, artists or culture as a cumulative, learned or evolved craft again.

In the past century the borders have blurred between art and design. Designers, artists, aestheticians, curators, art and design critics, historians and students all seem confused about these borders. Figurative painting was reduced to graphic design while still being called 'art'. Figurative sculpture was reduced to nonfunctional industrial design while being called 'sculpture'. This fundamental blunder resulted from total misunderstanding of the concept of "abstraction" by the founders of modern art. Comprehensive analysis shows that so-called "abstract art" is neither abstract nor art, but a very simple, even trivial, kind of design. In this book the prehistoric, philosophical, logical, historic and religious sources of the confusion between art and design are analyzed. A new and coherent conceptual framework is proposed, to distinguish between art and design. Nearly one hundred distinctions, contradistinctions and comparisons between art and design are presented, showing clearly that they are totally independent domains. Philosophy of art books are written by philosophers for philosophers, not for artists and designers; therefore they are irrelevant for the latter, especially for students who normally lack the necessary conceptual training. This book is not only for theoreticians but for art and design practitioners at all levels. This is a new kind of book: an illustrated philosophical book for the art and design world, which can make philosophical knowledge accessible and useful for solving real problems for designers and artists who are mostly visual rather than conceptual thinkers. The book contains over two hundred images; thus art and design people can easily follow the arguments and reasoning presented in this book in their own language; images. Lack of distinction between art and design harms both. Design is contaminated by the ills of modern art, while modern art cannot recover from its current stagnation whilst under the illusion that it is actually art rather than design.

In Toward a Dialogue of Understandings, Mary Ellen Pitts examines scientist Loren Eiseley's unique impact as a thinker and writer.

As climate change continues to batter the coastlines of North America and elsewhere, and as extreme weather events provide abundant proof of its reality, religious leaders can no longer ignore the fact that the human has become a geologic force, a force that must be re-educated and re-formed in order to guarantee safe passage into a sustainable future. Hopefully, Jesuits and their lay partners can continue to provide leadership in regard to this issue, correctly identified by Fr Adolfo Nicolás, SJ, as a top priority. In this particular context, the role of religions and their valuable contributions must be evaluated. Religion’s role is not simply one of morality; rather, it seeks, especially in Christianity, to show the face of God. It is out of this relation that believers then seek to live towards the “good,” especially in relation to their neighbours, creation and God. Religious believers may have failed severely in communicating this relationship in the twenty-first century. This publication gathers together a roster of Western and Asian experts’ contributions from various fields of knowledge related to ecology, anthropology, religions and ethics, economics, technology, and to environmental and health protection studies. This collection of essays embracing a wide scope of current topics, theme and questions will renew awareness of the ecological dilemma and stimulate reflection on its spiritual and social dimensions.