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A three-volume series of the "Journal of Consciousness Studies", which asks if it is possible to take a natural science approach to art and uncover general laws of aesthetic experience, or is that taking reductionism too far?
- Sales Rank: #767037 in Books
- Color: Black
- Published on: 1999-10-01
- Original language: English
- Number of items: 1
- Dimensions: 9.91" h x .53" w x 6.87" l, .97 pounds
- Binding: Single Issue Magazine
- 208 pages
Review
"The six principal papers are by a range of able and even distinguished exponents of their various specialisms"
(John Nash , Interdisciplinary Science Reviews, 25, No.3)"Ramachandran and Hirstein [in the lead article] present a penetrating neurological theory comprising eight universal laws of aesthetic experience... Although these two neurologists are far from the first to respond to the challenge of explaining the human artistic experience, they bring a deeper viewpoint to bear, combining principles from perceptual psychology, evolutionary biology, neurological deficits and functional brain anatomy. Their treatment is unusual not so much in their development of perceptual rules for art, but in their use of these diverse principles to address the evolutionary meaning of beauty that may be the essence of art... Ramachandran and Hirstein state that their goal is to foster debate on the principles underlying the artistic experience. This they undoubtedly do, as exemplified by the Commentaries."
(Christopher Tyler Science) About the Author
Joseph Goguen is professor of computer science, UCSD
V.S. Ramachandran is director, Center for Brain and Cognition, UCSD
Nicholas Humphrey is a senior researcher in evolutionary psychology, London School of Economics
Erich Harth is professor of physics, Syracuse University
Excerpt. © Reprinted by permission. All rights reserved.
(Ramachandran and Hirstein). Any theory of art (or, indeed, any aspect of human nature) has to ideally have three components. (a) The logic of art: whether there are universal rules or principles; (b) The evolutionary rationale: why did these rules evolve and why do they have the form that they do; (c) What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of 'Eight laws of artistic experience' - a set of heuristics that artists either consciously or unconsciously deploy to optimally titillate the visual areas of the brain. One of these principles is a psychological phenomenon called the peak shift effect: If a rat is rewarded for discriminating a rectangle from a square, it will respond even more vigorously to a rectangle that is longer and skinnier that the prototype. We suggest that this principle explains not only caricatures, but many other aspects of art.
....
(Humphrey). The emergence of cave art in Europe about 30,000 years ago is widely believed to be evidence that by this time human beings had developed sophisticated capacities for symbolization and communication. However, comparison of the cave art with the drawings made by a young autistic girl, Nadia, reveals surprising similarities in content and style. Nadia, despite her graphic skills, was mentally defective and had virtually no language. Humphrey argues in the light of this comparison that the existence of cave art cannot be the proof which it is usually assumed to be that the humans of the Upper Palaeolithic had essentially 'modern' minds.
....
(Harth). Our brains are characterized by sensory pathways that are highly reflexive, allowing higher cortical centres to control neural activity patterns at peripheral sensory areas. This feature is characterized as an internal sketchpad and involves recursive interactions between central symbols and peripheral images. The process is assumed to be the fundamental mechanism underlying most cognitive functions. The paper attempts to portray the beginnings of art and language as natural extensions of these pre-existing internal processes, made possible by the greatly enlarged human prefrontal cortex. It views these highly social activities as originating in subjective, private discourse between the emerging self and its externalized expressions.
Most helpful customer reviews
25 of 28 people found the following review helpful.
Excellent summary of research on art and the brain
By Bill G.
This issue of the Journal of Consciousness Studies offers a useful and illuminating collection of articles from major neuroscience researchers (including Ramachandran and Zeki) on how the architecture and organization of the brain influences our perception of art. Zeki's article formed the basis for his new book ("Inner Vision: An Explanation of Art and the Brain"), while Ramachandran obviously enjoys the opportunity to show off his erotic art collection! Highly recommended for anyone curious about how the brain constrains and channels our perceptions, and our appreciation of art.
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