The Fine Arts, Neurology, and Neuroscience
New Discoveries and Changing Landscapes
- 1st Edition, Volume 204 - November 5, 2013
- Editors: Stanley Finger, Dahlia W. Zaidel, Francois Boller, Julien Bogousslavsky
- Language: English
- Hardback ISBN:9 7 8 - 0 - 4 4 4 - 6 3 2 8 7 - 6
- eBook ISBN:9 7 8 - 0 - 4 4 4 - 6 3 2 8 8 - 3
This volume on neuroscience, neurology, and the fine arts brings several disciplines together. It presents current thoughts and modern examples about how science, medicine and th… Read more
This volume on neuroscience, neurology, and the fine arts brings several disciplines together. It presents current thoughts and modern examples about how science, medicine and the arts have interacted in the past and are still converging. This volume specifically explores the history and modern perspective on neurology and neuroscience.
- This volume explores the history and modern perspective on neurology and neuroscience
Neuroscientists, psychologists, neurologists
Series Page
Contributors
Preface
Recommended Additional Readings
PART 1: BRAIN DAMAGE, CREATIVITY, AND THE FINE ARTS
Chapter 1. Split-brain, the right hemisphere, and art: Fact and fiction
Abstract
1 Introduction
2 Historical scientific background
3 Right hemisphere specialization: The logic behind the relationship to art
4 Science and objectivity
5 Conclusions: Brain, right hemisphere, and art
References
Chapter 2. Visual artistic creativity and the brain
Abstract
1 Introduction
2 Major stages in the creative process
3 Right versus left hemisphere visuospatial processing
4 Role global and focal attention in artistic creativity
5 Imagery
6 Artistic creativity and neurological disorders
7 The artistic brain
8 Spatial design
9 Conclusions
References
Chapter 3. Artistic creativity, artistic production, and aging
Abstract
1 The aging brain and creativity
2 Specific and methodological aspects of creativity
3 Self-perception over the life span
4 Beyond the aging brain
5 Osteo-articulatory system
6 Creativity as stimulus for successful aging
7 Conclusions
Acknowledgments
References
Chapter 4. Focal cerebral lesions and painting abilities
Abstract
1 Painters with a left-hemisphere cerebral lesion
2 Painters with a right-hemisphere cerebral lesion
3 Analysis
4 Conclusions
Artist’s References
References
Chapter 5. Artistic creativity and dementia
Abstract
1 Introduction
2 Anatomy
3 Art in the brain
4 Conclusions
References
PART 2: FURTHER INSIGHTS ON THE BRAIN AND THE FINE ARTS
Chapter 6. Deceiving the brain: Pictures and visual perception
Abstract
1 Introduction
2 Stylized and spatialized images
3 Deceiving the eye
4 Pictures as deceptions
5 Conclusion
References
Further reading
Chapter 7. The experience of art: Insights from neuroimaging
Abstract
1 The experience of art
2 Brain damage, neurodegenerative disease, and art
3 Neuroimaging studies of the appreciation of art
4 Conclusions, limitations, and prospects
References
Chapter 8. On the electrophysiology of aesthetic processing
Abstract
1 Introduction
2 Background: Cognitive electrophysiology
3 Psychology of aesthetics
4 A framework for the neurocognitive psychology of aesthetics
5 Cognitive electrophysiology of aesthetic appreciation
6 Conclusions
References
Chapter 9. Mary Shelley’s Frankenstein: Exploring neuroscience, nature, and nurture in the novel and the films
Abstract
1 Some brief remarks about the life of Mary Shelley
2 The myth and story of Frankenstein
3 Mary Shelley’s Science
4 Universal studios: Frankenstein’s Monster and the Monster’s mate
5 Hammer studios: Shifting from monster to mad scientist
6 Other adaptations
7 Frankenstein and the new millennium
Acknowledgments
References
Further Reading
Chapter 10. Perception of emotion in abstract artworks: A multidisciplinary approach
Abstract
1 Introduction
2 The role of the neural response to emotion in aesthetic experience
3 Scientific approaches to the perception of emotion in art
4 Artists and art historians on art and emotion
5 Study 1: Emotion priming with abstract artworks and faces
6 Study 2: Training a computer to discriminate emotion in abstract artworks
7 Concluding remarks
Acknowledgments
References
Chapter 11. Art and brain: The relationship of biology and evolution to art
Abstract
1 Introduction
2 Evolution of H. sapiens and tracing the emergence of art
3 Art’s early beginnings
4 Biological roots: Signals in the display of art
5 Communication of visual art and aesthetics
6 From biology to aesthetics
7 Conclusions
References
Index
Other volumes in PROGRESS IN BRAIN RESEARCH
- Edition: 1
- Volume: 204
- Published: November 5, 2013
- Language: English
SF
Stanley Finger
Affiliations and expertise
Washington University, St. Louis, MO, USADZ
Dahlia W. Zaidel
Affiliations and expertise
University of California,U.S.A.FB
Francois Boller
François Boller, M.D., Ph.D. has been co-Series Editor of the Handbook of Clinical Neurology since 2002. He.is a board-certified neurologist currently Professor of Neurology at the George Washington University Medical School (GW) in Washington, DC. He was born in Switzerland and educated in Italy where he obtained a Medical Degree at the University of Pisa. After specializing in Neurology at the University of Milan, Dr. Boller spent several years at the Boston VA and Boston University Medical School, including a fellowship under the direction of Dr. Norman Geschwind. He obtained a Ph.D. in Experimental Psychology from Case Western Reserve University in Cleveland, Ohio where he was in charge of Neuroscience teaching at the Medical School and was nominated Teacher of the Year. In 1983, Dr. Boller became Professor of Neurology and Psychiatry at the University of Pittsburgh where he founded and directed one of the first NIH funded Alzheimer Disease Research Centers in the country. In 1989, he was put in charge of a Paris-based INSERM Unit dedicated to the neuropsychology and neurobiology of cerebral aging. He returned to the United States and joined the NIH in 2005, before coming to GW in July 2014.
Dr. Boller’s initial area of interest was aphasia and related disorders; he later became primarily interested in cognitive disorders and dementia with emphasis on the correlates of cognitive disorders with pathology, neurophysiology and imaging. He was one of the first to study the relation between Parkinson and Alzheimer disease, two processes that were thought to be unrelated. His current area of interest is Alzheimer’s disease and related disorders with emphasis on the early and late stages of the disease. He is also interested in the history of Neurosciences and is Past President of the International Society for the History of Neurosciences. He was the founding Editor-in-Chief of the European Journal of Neurology, the official Journal of the European Federation of Neurological Societies (now European Academy of Neurology). He is a Fellow of the American Academy of Neurology and a member of the American Neurological Association. In addition, he has chaired Committees within the International Neuropsychological Society, the International Neuropsychology Symposium, and the World Federation of Neurology (WFN). He has authored over 200 papers and books including the Handbook of Neuropsychology (Elsevier).
Affiliations and expertise
Professor of Neurology, George Washington University Medical School, Washington, DC, USAJB
Julien Bogousslavsky
Affiliations and expertise
Genolier Swiss Medical Network,SwitzerlandRead The Fine Arts, Neurology, and Neuroscience on ScienceDirect