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The neural imagination : aesthetic and neuroscientific approaches to the arts /
Art and technology have been converging rapidly in the past few years; an important example of this convergence is the alliance of neuroscience with aesthetics, which has produced the new field of neuroaesthetics. Irving Massey examines this alliance, in large part to allay the fears of artists and...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Austin :
University of Texas Press,
2009.
|
| Edición: | 1st ed. |
| Colección: | Cognitive approaches to literature and culture series.
|
| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Massey, Irving. | |
| 245 | 1 | 4 | |a The neural imagination : |b aesthetic and neuroscientific approaches to the arts / |c Irving Massey. |
| 246 | 3 | 0 | |a Aesthetic and neuroscientific approaches to the arts |
| 250 | |a 1st ed. | ||
| 260 | |a Austin : |b University of Texas Press, |c 2009. | ||
| 300 | |a 1 online resource (xvi, 224 pages, 8 unnumbered pages of plates) : |b illustrations (some color), music | ||
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| 490 | 1 | |a Cognitive approaches to literature and culture series | |
| 504 | |a Includes bibliographical references (pages 190-212) and index. | ||
| 588 | 0 | |a Print version record. | |
| 505 | 0 | |a List of Illustrations; Preface; Acknowledgments; Part 1. The Imagination, Neural; Chapter 1. Background, Purposes, and Limitations of the Inquiry; Chapter 2. Neuroscience and the Visual Arts; Chapter 3. At the Limits of Language; Chapter 4. Music and Language in Dream; Part 2. The Imagination, Plain; Chapter 5. The Three Fields; Part 3. Conclusions; Chapter 6. Ideas and Values; Bibliography; Index. | |
| 546 | |a English. | ||
| 520 | |a Art and technology have been converging rapidly in the past few years; an important example of this convergence is the alliance of neuroscience with aesthetics, which has produced the new field of neuroaesthetics. Irving Massey examines this alliance, in large part to allay the fears of artists and audiences alike that brain science may "explain away" the arts. The first part of the book shows how neuroscience can enhance our understanding of certain features of art. The second part of the book illustrates a humanistic approach to the arts; it is written entirely without recourse to neuroscience, in order to show the differences in methodology between the two approaches. The humanistic style is marked particularly by immersion in the individual work and by evaluation, rather than by detachment in the search for generalizations. In the final section Massey argues that, despite these differences, once the reality of imagination is accepted neuroscience can be seen as the collaborator, not the inquisitor, of the arts. | ||
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