The fine arts, neurology, and neuroscience: [2] New discoveries and changing landscapes
Gespeichert in:
| Weitere Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Amsterdam [u.a.]
Elsevier
2013
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| Ausgabe: | 1. ed. |
| Schriftenreihe: | Progress in brain research
204 |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XIII, 245 S. zahlr. Ill., graph. Darst. 24 cm |
| ISBN: | 9780444632876 |
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| adam_text | Titel: Bd. 2. The fine arts, neurology, and neuroscience. New discoveries and changing landscapes
Autor:
Jahr: 2013
Contents
Contributors...............................................................................................................v
Preface....................................................................................................................vii
PART 1 BRAIN DAMAGE, CREATIVITY, AND THE FINE ARTS
CHAPTER 1 Split-brain, the Right Hemisphere, and Art:
Fact and Fiction.........................................................................3
Dahlia W. Zaidel
1. Introduction.....................................................................................3
2. Historical Scientific Background....................................................5
3. Right Hemisphere Specialization: The Logic Behind the
Relationship to Art..........................................................................9
4. Science and Objectivity................................................................11
5. Conclusions: Brain, Right Hemisphere, and Art..........................13
References.....................................................................................14
CHAPTER 2 Visual Artistic Creativity and the Brain...........................19
Kenneth M. Heilman, Lealani Mae Acosta
1. Introduction...................................................................................19
2. Major Stages in the Creative Process...........................................20
3. Right Versus Left Hemisphere Visuospatial Processing.............22
4. Role Global and Focal Attention in Artistic Creativity...............24
5. Imagery.........................................................................................24
6. Artistic Creativity and Neurological Disorders............................26
6.1. Stroke....................................................................................26
6.2. Frontotemporal Lobar Degeneration....................................26
6.3. Epilepsy................................................................................28
6.4. Parkinson s Disease..............................................................28
7. The Artistic Brain.........................................................................29
7.1. Left Hemispheric Developmental Anomalies......................29
7.2. Right Parietal Lobe...............................................................30
7.3. Right Frontal Lobe...............................................................31
7.4. Corpus Callosum..................................................................32
7.5. Handedness...........................................................................33
8. Spatial Design...............................................................................34
8.1. Agent-Patient Relationships.................................................34
8.2. Pictorial Asymmetry.............................................................35
8.3. Emotional Facial Expression................................................36
ix
Contents
9. Conclusions...................................................................................37
References.....................................................................................38
CHAPTER 3 Artistic Creativity, Artistic Production, and Aging......45
Anna Mazzucchi, Elena Sinforiani, François Boller
1. The Aging Brain and Creativity...................................................47
2. Specific and Methodological Aspects of Creativity....................47
2.1. Shape.....................................................................................48
2.2. Light......................................................................................50
2.3. Color.....................................................................................52
2.4. Tendency to Experiment ...................................................53
2.5. Content Variation.................................................................54
2.6. Repetitive Production...........................................................55
2.7. Symbolism............................................................................56
3. Self-perception Over the Life Span..............................................57
4. Beyond the Aging Brain...............................................................60
4.1. Sensory Organs.....................................................................60
5. Osteo-Articulatory System...........................................................63
6. Creativity as Stimulus for Successful Aging...............................66
7. Conclusions...................................................................................66
Acknowledgments........................................................................67
References.....................................................................................67
CHAPTER 4 Focal Cerebral Lesions and Painting Abilities.............71
Anna Mazzucchi, Elena Sinforiani, François Boller
1. Painters with a Left-Hemisphere Cerebral Lesion.......................72
2. Painters with a Right-Hemisphere Cerebral Lesion.....................80
3. Analysis.........................................................................................87
3.1. General Composition............................................................90
3.2. Thematic and Stylistic Repetitions......................................91
3.3. Use of Colors........................................................................91
3.4. Overall Painting Style..........................................................92
3.5. Characteristics of Self-Portraits............................................92
3.6. Attempts to Regain Style.....................................................92
4. Conclusions...................................................................................93
Artist s References.......................................................................94
References.....................................................................................96
CHAPTER 5 Artistic Creativity and Dementia........................................99
Zachary A. Miller, Bruce L. Miller
1. Introduction...................................................................................99
1.1. Background Observations.....................................................99
1.2. Dementia.............................................................................100
Contents
1.3. Frontotemporal Dementia...................................................100
1.4. Primary Progressive Aphasia.............................................101
2. Anatomy......................................................................................102
2.1. Classical Neuroanatomy.....................................................102
2.2. Behavioral Neuroanatomy..................................................102
2.3. Left Versus Right...............................................................102
2.4. From the Front to the Back and the Bottom to the Top.... 103
3. Art in the Brain...........................................................................103
3.1. The Neuroanatomy of Artistic Ability...............................103
3.2. Art in AD and Frontotemporal Dementia..........................103
3.3. How Does Focal Neurodegenerative Disease Facilitate
Enhanced Artistic Ability?.................................................104
3.4. Art in PPA..........................................................................104
3.5. Art in svPPA.......................................................................105
3.6. Art in Nonfluent PPA.........................................................106
4. Conclusions.................................................................................108
4.1. Closing Thoughts: Which Came First, Artistry
or Disease?..........................................................................108
References...................................................................................110
PART 2 FURTHER INSIGHTS ON THE BRAIN
_AND THE FINE ARTS_
CHAPTER 6 Deceiving the Brain: Pictures and
Visual Perception.................................................................115
Nicholas J. Wade
t. Introduction.................................................................................115
2. Stylized and Spatialized Images.................................................117
3. Deceiving the Eye.......................................................................122
4. Pictures as Deceptions................................................................128
5. Conclusion...................................................................................132
References...................................................................................133
CHAPTER 7 The Experience of Art: Insights from
Neuroimaging.........................................................................135
Marcos Nadal
1. The Experience of Art................................................................135
2. Brain Damage, Neurodegenerative Disease, and Art................138
3. Neuroimaging Studies of the Appreciation of Art.....................140
3.1. Activity of Cortical Areas Involved in Evaluative
Judgment, Attention, and Memory.....................................141
Contents
3.2. The Role of the Reward Circuit in the Experience
of Art...................................................................................144
3.3. Enhancement of Cortical Sensory Processes.....................147
4. Conclusions, Limitations, and Prospects....................................152
References...................................................................................154
CHAPTER 8 On the Electrophysiology of Aesthetic
Processing...............................................................................159
Thomas Jacobsen
1. Introduction.................................................................................159
2. Background: Cognitive Electrophysiology................................160
3. Psychology of Aesthetics............................................................161
4. A Framework for the Neurocognitive Psychology
of Aesthetics................................................................................161
5. Cognitive Electrophysiology of Aesthetic Appreciation...........163
6. Conclusions.................................................................................166
References...................................................................................167
CHAPTER 9 Mary Shelley s Frankenstein: Exploring
Neuroscience, Nature, and Nurture in the
Novel and the Films.............................................................169
Sheryl R. Ginn
1. Some Brief Remarks About the Life of Mary Shelley..............170
2. The Myth and Story of Frankenstein.........................................172
3. Mary Shelley s Science..............................................................174
4. Universal Studios: Frankenstein s Monster and the Monster s
mate.............................................................................................176
5. Hammer Studios: Shifting from Monster to Mad Scientist.......180
6. Other Adaptations.......................................................................182
7. Frankenstein and the New Millennium......................................185
Acknowledgments......................................................................187
References...................................................................................187
CHAPTER 10 Perception of Emotion in Abstract Artworks:
A Multidisciplinary Approach...........................................191
David Melcher, Francesca Bacci
1. Introduction.................................................................................191
2. The Role of the Neural Response to Emotion in Aesthetic
Experience...................................................................................193
3. Scientific Approaches to the Perception of Emotion in Art......195
3.1. Bottom-Up Emotional Cues in Abstract Art.....................196
Contents xiii
3.2. Cognitive Mastery Theories of Emotion in Art
Appreciation........................................................................197
4. Artists and Art Historians on Art and Emotion.........................198
4.1. The Turn Toward Pure Abstraction...................................199
4.2. Geometrical Abstraction.....................................................200
4.3. Nongeometrical Abstract Art and the Abstract
Expressionists.....................................................................202
4.4. Questions and Motivations.................................................203
5. Study 1 : Emotion Priming with Abstract Artworks
and Faces.....................................................................................203
5.1. Conclusions from Study 1..................................................204
6. Study 2: Training a Computer to Discriminate Emotion
in Abstract Artworks...................................................................205
6.1. Computational Analysis.....................................................210
6.2. Conclusions from Study 2..................................................210
7. Concluding Remarks...................................................................211
Acknowledgments......................................................................212
References...................................................................................212
CHAPTER 11 Art and Brain: The Relationship of Biology
and Evolution to Art..............................................................217
Dahlia W. Zaidel
1. Introduction.................................................................................217
2. Evolution of H. sapiens and Tracing the Emergence of Art.....219
3. Art s Early Beginnings...............................................................220
4. Biological Roots: Signals in the Display of Art........................223
5. Communication of Visual Art and Aesthetics...........................225
5.1. Neural Underpinnings of Pleasure from
Visual Aesthetics................................................................225
5.2. The Viewer: Human Neural Underpinning
of Aesthetic Preference......................................................226
6. From Biology to Aesthetics........................................................228
7. Conclusions.................................................................................229
References...................................................................................230
Index.......................................................................................................................235
Other volumes in PROGRESS IN BRAIN RESEARCH..............................................243
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