The Fine Arts, Neurology, and Neuroscience

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