4 November 2024: Michael Tomasello (Duke University), A Natural History of Human Communication. Respondent: Lorenzo Bartalesi (Scuola Normale, Pisa) [online live interview, CRASSH SG2]
Abstract:
Most of what biologists call communication in the natural world is physical characteristics of the organism or reflexive behaviors not under the individual's control. But with the emergence ofanthropoid primates came communicative agency in which individuals producedactions intended to have effects in other individuals. Uniquely human communication can be seen as the conventionalization of these acts of intentional communication (with a few other twists).
11 November 2024: Innes Cuthill (School of Biological Sciences University of Bristol), Animal Camouflage: Evolutionary Biology meets Neuroscience, Art and War [in person,CRASSH S3]
Abstract:
Animal camouflage provides some of the most striking examples of the workings of natural selection; it has also long been an inspiration for military camouflage design, with the pioneers of camouflage theory being both artists and natural historians. While the general benefits of camouflage are obvious, understanding the precise means by which the viewer is fooled represent a challenge. This is because animal camouflage is an adaptation to the eyes and mind of another animal, often with a visual system different from (and sometimes superior to) that of humans. A full understanding of the mechanisms of camouflage therefore requires an interdisciplinary investigation of the perception and cognition of non-human species, involving the collaboration of biologists, neuroscientists, perceptual psychologists and computer scientists. I review the various forms of camouflage from this perspective, illustrated by the recent upsurge of experimental studies of long-held, but largely untested, theories of defensive coloration.
18 November 2024: Liza Foley (Department of Art History and Theatre Studies, University of Ghent): Hiding in Plain Sight: Gloves, Animals and the Skin of Politeness [in person, CRASSH SG2)
Abstract:
This paper explores the interrelationship between gloves, the materiality of leather and the performance of eighteenth-century politeness to reflect on broader questions concerning the nature of civility, the construction of human identity and its connection to the animal world. Adopting an interdisciplinary approach and using the concept of refinement, it proposes politeness as a form of ‘skin’, a technique of social camouflage that enabled individuals to navigate a complex social landscape in which, it is argued, fine leather gloves played an important and multifaceted role. However, rather than perceiving the leather glove exclusively as an example of human cultural refinement, this paper also incorporates leather surface analysis to reveal the non-human animals - and skin - from which gloves were made, including the violence inherent in their making. In doing so, it presents some of the tensions and contradictions inherent within conceptions of eighteenth-century politeness and further adds to a growing body of studies that invite reflection of how the use of animals and animal materials within cultural practices can elicit deeper questions about so-called human behaviour, our place within the living world and the animal within.
25 November 2024: Zoë Vanderhaeghen and Bram Van Oostveldt(Department of Art History and Theatre Studies, University of Ghent): Masks and “Make-up”: The Chameleon’s Role in Early Modern Discourses on Dissimulation [in person, CRASSH S3]
Abstract:
The Chameleon is not disposed to remain of one and the same colour for men to see and recognise, but it conceals itself by misleading and deceiving the eye of the beholder.” This excerpt from Claudius Aelianus' On the Characteristics of Animals (c. 175 – c. 235 AD) underscores the ancient association of the chameleon with deceit, a theme that gained particular prominence in the early modern period. During this time, the chameleon became a powerful symbol of dissimulation, mirroring the era’s fascination with masquerades, masks, and“making-up” the face, and highlighting the tension between appearance and reality. Although not immediately apparent, this connection is evident inClaude Perrault’s (1613–1688) meticulous anatomical studies of the chameleon, which sought to demystify the creature through a scientific lens, as well as inMadeleine de Scudéry’s (1607–1701) literary ethology Histoire de deux caméléons (1673). Building on these two works, this paper will explore how the chameleon, far from being merely a scientific curiosity, became intricately linked to broader early modern debates on dissimulation, masking, blushing, face-painting, and witchcraft—discourses that can be traced to ancient conceptions of the chameleon. By examining these themes, the paper aims to uncover the complex intersections between human and animal behavior, allowing us to write a chapter in the larger history of the concept of camouflage as a characteristic that is shared by non-human and human animals alike.
2 December 2024:
László Talas (Bristol Veterinary School, University of Bristol): cultural evolution of military camouflage/ Jasmina Stevanov (Department of Psychology, CambridgeUniversity), Visual illusions: fascinating and confusing[in person,CRASSH SG2].
Abstract Talas:
Camouflage has played a crucial role in military applications since World War I, and the colours chosen for uniforms are no exception. However, the patterns of military uniforms display remarkable diversity, even among countries located in the same geographical regions, indicating that factors beyond concealment are at work. In this talk, I will explore the evolution of uniform patterns from the early 20th century to the present day, highlighting methods for comparing their visual similarity, particularly in terms of texture and colour. I will demonstrate how these methods can be used to quantitatively analyse convergence and divergence in pattern development and argue that the evolution of uniform patterns is influenced by cultural factors.
Abstract Stevanov:
In everyday talk and non-scientific publications, visual illusions encompass a variety of images that trick our eyes and mind into believing that what we perceive is not always veridical. They are often grouped under the broad category of visual illusions. Some of these mind-bending visual presentations have influenced the design of warships, while others have inspired op artists like Bridget Riley and Victor Vasarely. On the other hand, psychologists have been fascinated by these phenomena, investigating the perceptual and neural mechanisms behind them since the late 19th century.
In this talk, I will briefly explore the heated debates surrounding the definitions and classifications of illusions, particularly where razzle dazzle intersects with camouflage, op art, and biology, but not strictly with illusions in the narrow sense. I will also discuss other categories of motion illusions and examine why illusion phenomena continues to captivate such widespread attention, filling illusion museums and science festivals with curious children and adults alike.