Amadeusz Topka
Art Appreciation
10/27/12
A neuroaesthetic approach to art
A study conducted in neurology and then contemplated by Suzanne Nabaltian in her scholarly article Neuroaesthetics: neuroscientific theory and illustration from the arts, sheds unique light upon how an individual past and their subjective experience can influence several subconsciously made decisions in creating art. Suzanne favors the work of Jean-Pierre Changeux, a neuroscientist that “has been engaged in this area of study since l988”. In his book, Suzanne appraises Jean-Pierre’s theory on how an individual’s perception such as logic, past, and a general understanding of reality can affect artistry.
The first main point from Suzanne’s article is that of deep reflective thought or contemplation. From the moment an individual sets his or her eyes on a particular work of art such as a sculpture, painting, etc. rationalization begins. Many try to deduce from different points of view which may include that of the artists’, or try to find a generalized understanding on what the work is trying to portray.
Second, memory and how it functions with respect to the information that is incorporated in the composition of the work. Every individual in this world experiences memory in one form or another, whether it be visual or composed of many different components. The theory of memory is for the most part based on a scientific analysis of neurological bindings. Therefore, the stronger the connections between neurons the easier it is to retrieve a particular mental image. In art, memory plays an important role in regards to certain motives and depiction of apiece created.
The Term Paper on What Is Art Back Work Painting
Intro In late Antiquity the arts consisted of the seven artes liberal es, the liberal arts: Grammar, Logic, Rhetoric, Geometry, Arithmetic, Astronomy, and Music. Philosophy was the mother of them all. On a lower level stood the technical arts like architecture, agriculture, painting, sculpture and other crafts. 'Art' as we of it today was a mere craft. Art in the Middle Ages was 'the ape of ...
Third, being the limbic system. Suzanne considers and writes about how different aspects of the brain influenced emotion, behavior, and motivation behind contemplation and conception of artwork. Artists and non-artists alike share this quality in general however, many do vary in its expression. The limbic system is responsible for the intensity of the work done, and additionally serves as a mechanism for surfacing long-term memory to the conscious mind.
Lastly, Suzanne writes about the impact of hallucinatory memory. She gives examples of Salvador Dali and how he accomplished to retrieve hidden memories through a state of hallucination such as daydreaming. Thus, creativity springs into being through a relaxed state; the addition of imagination constructs the artists’ work to be rich in detail. The article makes note of Dali’s manipulation and the use of his will to reconstruct aspects of an image from childhood.
In conclusion, education is structured in a similar fashion. Utilizing aspects such as the ones mentioned above, students can easily reconcile memories through various states of consciousness. Since no two people are alike, many very in the process on how to retain information presented in school. Academia makes use of these points in a general manner, those who regular attend unconsciously develop memories through different states of being i.e. emotionally, visually, hallucinatory. The study presented in the article by Suzanne Nabaltian emphasizes to the reader on how memory, creativity, and the individuals’ state of being can influence their works of art.
