- Tapa dura: 576 páginas
- Editor: OUP Oxford; Edición: 1 (25 de junio de 2015)
- Idioma: Inglés
- ISBN-10: 0199670005
- ISBN-13: 978-0199670000
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
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Art, Aesthetics, and the Brain (Inglés) Tapa dura – 25 jun 2015
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Descripción del producto
This book is unmatched in its range of coverage, with multichapter sections on visual art, dance, and musicreaders looking for comprehensive contemporary coverage of topics in individual chapters will not be disappointed. (Aaron Kozbelt, Evolutionary Studies in Imaginative Culture)
Written by the leading researchers in the fields of psychology, neurophysiology, neuroimaging, aesthetics, and philosophy, this book would serve the needs of anyone from graduate students to well-informed and practicing researchers in various disciplines. It is indeed a real tribute to editors and contributors in bringing neuroscience terminology closer to a wider audience. (Jasmina Stevanov, Perception)
Reseña del editor
Humans have engaged in artistic and aesthetic activities since the appearance of our species. Our ancestors have decorated their bodies, tools, and utensils for over 100,000 years. The expression of meaning using color, line, sound, rhythm, or movement, among other means, constitutes a fundamental aspect of our species' biological and cultural heritage. Art and aesthetics, therefore, contribute to our species identity and distinguish it from its living and extinct relatives.
Science is faced with the challenge of explaining the natural foundations of such a unique trait, and the way cultural processes nurture it into magnificent expressions, historically and ethnically unique. How does the human brain bring about these sorts of behaviors? What neural processes underlie the appreciation of painting, music, and dance? How does training modulate these processes? How are they impaired by brain lesions and neurodegenerative diseases? How did such neural underpinnings evolve? Are humans the only species capable of aesthetic appreciation, or are other species endowed with the rudiments of this capacity?
This volume brings together the work on such questions by leading experts in genetics, psychology, neuroimaging, neuropsychology, art history, and philosophy. It sets the stage for a cognitive neuroscience of art and aesthetics, understood in the broadest possible terms. With sections on visual art, dance, music, neuropsychology, and evolution, the breadth of this volume's scope reflects the richness and variety of topics and methods currently used today by scientists to understand the way our brain endows us with the faculty to produce and appreciate art and aesthetics.
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"Art, Aesthetics, and the Brain", edited by Joseph P. Huston, Marcos Nadal, Francisco Mora, Luigi F. Agnati, and Camilo J. Cela-Conde (2015) is a compilation of articles in chapter form by a variety of academics and experts in their fields from around the world. I looked forward to the publication of this book for over a year. Way to create anticipation in readers by making the book for sale on Amazon a year before it went to print. I had given-up, when it appeared as available. This text compiles such an array of contributors it clearly took some doing. The dimensions of this book are substantial and it is written in a relatively small font. As an art educator and Embodied Education Specialist in the process of doing my PhD. course work I am especially interested in the latest research on arts and the body along with the brain. These are exciting subjects today, akin to space exploration at the time of the manned lunar landing in the mid-twentieth century. We are in an early Renaissance in the neurosciences and the physiology of aesthetics because of advancements in neuroimaging and physiological study. Great strides have been made in the empirical research of neuroaesthetics since my burgeoning interest in the early 2000s when I could find next to nil. There is now enough research on art, aesthetics, and the brain to fill this book. As many of its authors state, there is still a need for more study in this field, I’ll call neuroaesthetics, still in its infancy. There is room for greater study in much of the phenomena of this world.
This book uses academic language and requires a base knowledge of the neurosciences and the arts to appreciate it thoroughly. It is not written for the everyday reader though it is not truly academic enough for the advanced researcher. For a lay researcher or advanced beginner in the field of neuroaesthetics it contains a plethora of reference information. Fundamentally, it is an academic text using the modified formal language of advanced education for presentation outside of its respective field of study. Though the editors made an effort to introduce the book’s content in its first section, appropriately named “Foundational issues”, it is still for an audience that is familiar with its concepts. This book could be used as a college level text book for advanced beginners in these subjects as an overview of what is going on today in the understanding of the interaction between art, aesthetics, and the brain.
The book is organized into seven sensible sections that flow intuitively into one another. In the first section, the editors compile chapters that introduce the reader to fundamental concepts of neuroscience, art, and aesthetics and how they interact that are relevant to the rest of the text. Kudos to the editors for including a wide variety of visual and performing arts within the label art, each in their respective sections following the introductory section and throughout the book. The text goes on to a section on, "Neuropsychology of art and aesthetics", and then, "The evolution of art, aesthetics, and the brain". The editors have made an effort to include “outsider” subjects in these sections, often relegated to the margins of the discussion and research of neuroaesthetics. In this case, the editors have included art produced by dementia patients (p. 357 et al.), a fascinating read, and objects produced by animals as visual art (p. 393 et al.) another tantalizing topic. Finally, the seventh section includes "Integrative approaches" to these subjects. The chapters have been meticulously structured into sub-headed sections so as to easily reference information. This is one of my pet peeves and the beautiful organization here is a delight that makes ease of use one of the great bonuses of this text. Each chapter includes extensive reference lists and some authors have gone to the trouble of directing readers to further information on a given subject within the text itself. This book is also an opportunity to do some academic vocabulary building because of the array of subjects presented.
The editors of, "Art, Aesthetics, and the Brain", have included various perspectives in these fields from art historical and psychological to, of course, neurological and the rest of the biological body. The tastes some authors give of their expertise will require further reading on the part of an inquiring mind, while others give a broad enough overview that it is just enough to grasp the whole of the discussion on their subject. The editors must be congratulated for including authors who criticizes the empirical academic establishment as reductionist (p. 224). This text presents a honed view of some of the conflicts and factors at play in the study of why art is created and how it is perceived. Each chapter presents a synopsis of centuries of research and discussion on their subject. Due to the variety of authors some of the information in each chapter was repetitive, each author often redefining terms and recapping the history of their subject. Most of the writers did not appear to be the primary researchers on their subjects but quoted other peoples’ findings. There were morsels of new information to be found in this overview of these subjects.
As authors in the fields of psychology, biology, evolutionary biology, neuroscience, art history and more attempt to define a niche within the broader topic of art, explaining the arts continues to exist beyond any known academic category, transcending current explanations, crossing barriers, crisscrossing disciplines, and provoking the development of new disciplines (neuroaesthetics, aesthetic psychology etc.). Though none of the contributors I can recall proclaim art’s importance they do state its universality. The size of the book and the discussion of art in such various fields states arts importance plainly enough. Academics and those unbound by academic conventions alike may notice the arts have not quite been adequately explained and continue to provoke and require greater research and discussion. This book is a part of that ever growing cannon of texts on the subject of why art exists.
Gina Rizzo is an Education Specialist doing her PhD. coursework at the California Institute of Integral Studies