tailieunhanh - The Science of Art A Neurological Theory of Aesthetic Experience

Research on creativity tends to stress the importance of context-free thought, the content of which is independent of what is present to the senses of the agent. Indeed, the capacity to disregard what is real and turn towards the imaginary is essential for creativity. Yet, this does not entail that creativity in general, as an activity, is independent of the context in which it occurs (Brinck 1999). Except for explaining what it means to say that cognition is situated and dynamic, Sections 2 and 3 also will elucidate what context-independence entails in the case of artistic creativity. . | . Ramachandran and William Hirstein The Science of Art A Neurological Theory of Aesthetic Experience We present a theory of human artistic experience and the neural mechanisms that mediate it. 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. Example An evocative sketch of a female nude may be one which selectively accentuates those feminine form-attributes that allow one to discriminate it from a male figure a Boucher a Van Gogh or a Monet may be a caricature in colour space rather than form space. Even abstract art may employ supernormal stimuli to excite form areas in the brain more strongly than natural stimuli. Second we suggest that grouping is a very basic principle. The different extrastriate visual areas may have evolved specifically to extract correlations in different domains depth colour and discovering and linking multiple features grouping into unitary clusters objects is facilitated and reinforced by direct connections from these areas to limbic structures. In general when object-like entities are partially discerned at any stage in the visual hierarchy messages are sent back to earlier stages to alert them to certain .

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