Forms of the Visible

Imagery and figuration are not just figments of an artist’s imagination. Perception and imagination are always shaped by what habit has taught us to discern. The visual path we spontaneously trace through the world depends on where we are situated in the four regions of the ontological archipelago: animism, naturalism, totemism, or analogism. Each of these four regions corresponds to a way of conceiving the objects that make up the world, of perceiving the continuities and discontinuities in the folds of the world, and of drawing the dividing lines between humans and nonhumans.

From Alaskan Yup’ik masks and Aboriginal bark paintings to miniature landscapes from the Song dynasty and Dutch Golden Age interior scenes: each image reveals, through what it shows or fails to show, a certain figurative regime, identifiable by the formal means it uses and by the device through which it can unleash its power to act. The figurative regime enables us to grasp – sometimes better than words can – the contrasting ways of living that characterise the human condition and its relation to the nonhuman. By comparing a great diversity of visual images and artworks, Descola masterfully lays the theoretical foundations for an anthropology of figuration.

One of the world’s leading anthropologists, Philippe Descola has developed a comparative anthropology of relations between humans and nonhumans that has revolutionised both the human sciences and our ways of thinking about the great ecological issues of our time. His new book, Forms of the Visible, will be of great value to students and scholars of anthropology, visual art, and art history, and to anyone interested in art, culture, and the relations between the human and nonhuman worlds.