Contributors |
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v | |
Preface |
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vii | |
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PART 1 BRAIN DAMAGE, CREATIVITY, AND THE FINE ARTS |
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Chapter 1 Split-brain, the Right Hemisphere, and Art: Fact and Fiction |
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3 | (16) |
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3 | (2) |
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2 Historical Scientific Background |
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5 | (4) |
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3 Right Hemisphere Specialization: The Logic Behind the Relationship to Art |
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9 | (2) |
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4 Science and Objectivity |
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11 | (2) |
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5 Conclusions: Brain, Right Hemisphere, and Art |
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13 | (6) |
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14 | (5) |
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Chapter 2 Visual Artistic Creativity and the Brain |
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19 | (26) |
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19 | (1) |
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2 Major Stages in the Creative Process |
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20 | (2) |
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3 Right Versus Left Hemisphere Visuospatial Processing |
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22 | (2) |
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4 Role Global and Focal Attention in Artistic Creativity |
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24 | (1) |
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24 | (2) |
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6 Artistic Creativity and Neurological Disorders |
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26 | (3) |
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26 | (1) |
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6.2 Frontotemporal Lobar Degeneration |
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26 | (2) |
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28 | (1) |
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28 | (1) |
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29 | (5) |
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7.1 Left Hemispheric Developmental Anomalies |
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29 | (1) |
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30 | (1) |
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31 | (1) |
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32 | (1) |
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33 | (1) |
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34 | (3) |
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8.1 Agent-Patient Relationships |
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34 | (1) |
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35 | (1) |
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8.3 Emotional Facial Expression |
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36 | (1) |
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37 | (8) |
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38 | (7) |
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Chapter 3 Artistic Creativity, Artistic Production, and Aging |
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45 | (26) |
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1 The Aging Brain and Creativity |
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47 | (1) |
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2 Specific and Methodological Aspects of Creativity |
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47 | (10) |
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48 | (2) |
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50 | (2) |
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52 | (1) |
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2.4 Tendency to "Experiment" |
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53 | (1) |
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54 | (1) |
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2.6 Repetitive Production |
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55 | (1) |
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56 | (1) |
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3 Self-perception Over the Life Span |
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57 | (3) |
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60 | (3) |
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60 | (3) |
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5 Osteo-Articulatory System |
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63 | (3) |
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6 Creativity as Stimulus for Successful Aging |
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66 | (1) |
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66 | (5) |
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67 | (1) |
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67 | (4) |
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Chapter 4 Focal Cerebral Lesions and Painting Abilities |
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71 | (28) |
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1 Painters with a Left-Hemisphere Cerebral Lesion |
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72 | (8) |
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2 Painters with a Right-Hemisphere Cerebral Lesion |
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80 | (7) |
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87 | (6) |
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90 | (1) |
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3.2 Thematic and Stylistic Repetitions |
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91 | (1) |
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91 | (1) |
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3.4 Overall Painting Style |
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92 | (1) |
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3.5 Characteristics of Self-Portraits |
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92 | (1) |
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3.6 Attempts to Regain Style |
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92 | (1) |
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93 | (6) |
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94 | (2) |
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96 | (3) |
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Chapter 5 Artistic Creativity and Dementia |
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99 | (16) |
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99 | (3) |
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1.1 Background Observations |
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99 | (1) |
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100 | (1) |
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1.3 Frontotemporal Dementia |
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100 | (1) |
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1.4 Primary Progressive Aphasia |
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101 | (1) |
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102 | (1) |
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2.1 Classical Neuroanatomy |
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102 | (1) |
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2.2 Behavioral Neuroanatomy |
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102 | (1) |
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102 | (1) |
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2.4 From the Front to the Back and the Bottom to the Top |
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103 | (1) |
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103 | (5) |
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3.1 The Neuroanatomy of Artistic Ability |
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103 | (1) |
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3.2 Art in AD and Frontotemporal Dementia |
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103 | (1) |
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3.3 How Does Focal Neurodegenerative Disease Facilitate Enhanced Artistic Ability? |
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104 | (1) |
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104 | (1) |
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105 | (1) |
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106 | (2) |
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108 | (7) |
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4.1 Closing Thoughts: Which Came First, Artistry or Disease? |
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108 | (2) |
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110 | (5) |
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PART 2 FURTHER INSIGHTS ON THE BRAIN AND THE FINE ARTS |
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Chapter 6 Deceiving the Brain: Pictures and Visual Perception |
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115 | (20) |
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115 | (2) |
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2 Stylized and Spatialized Images |
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117 | (5) |
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122 | (6) |
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128 | (4) |
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132 | (3) |
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133 | (2) |
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Chapter 7 The Experience of Art: Insights from Neuroimaging |
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135 | (24) |
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135 | (3) |
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2 Brain Damage, Neurodegenerative Disease, and Art |
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138 | (2) |
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3 Neuroimaging Studies of the Appreciation of Art |
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140 | (12) |
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3.1 Activity of Cortical Areas Involved in Evaluative Judgment, Attention, and Memory |
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141 | (3) |
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3.2 The Role of the Reward Circuit in the Experience of Art |
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144 | (3) |
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3.3 Enhancement of Cortical Sensory Processes |
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147 | (5) |
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4 Conclusions, Limitations, and Prospects |
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152 | (7) |
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154 | (5) |
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Chapter 8 On the Electrophysiology of Aesthetic Processing |
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159 | (10) |
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159 | (1) |
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2 Background: Cognitive Electrophysiology |
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160 | (1) |
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3 Psychology of Aesthetics |
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161 | (1) |
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4 A Framework for the Neurocognitive Psychology of Aesthetics |
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161 | (2) |
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5 Cognitive Electrophysiology of Aesthetic Appreciation |
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163 | (3) |
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166 | (3) |
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167 | (2) |
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Chapter 9 Mary Shelley's Frankenstein. Exploring Neuroscience, Nature, and Nurture in the Novel and the Films |
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169 | (22) |
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1 Some Brief Remarks About the Life of Mary Shelley |
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170 | (2) |
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2 The Myth and Story of Frankenstein |
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172 | (2) |
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174 | (2) |
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4 Universal Studios: Frankenstein's Monster and the Monster's mate |
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176 | (4) |
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5 Hammer Studios: Shifting from Monster to Mad Scientist |
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180 | (2) |
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182 | (3) |
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7 Frankenstein and the New Millennium |
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185 | (6) |
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187 | (1) |
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187 | (4) |
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Chapter 10 Perception bf Emotion in Abstract Artworks: A Multidisciplinary Approach |
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191 | (26) |
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191 | (2) |
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2 The Role of the Neural Response to Emotion in Aesthetic Experience |
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193 | (2) |
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3 Scientific Approaches to the Perception of Emotion in Art |
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195 | (3) |
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3.1 Bottom-Up Emotional Cues in Abstract Art |
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196 | (1) |
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3.2 Cognitive Mastery Theories of Emotion in Art Appreciation |
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197 | (1) |
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4 Artists and Art Historians on Art and Emotion |
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198 | (5) |
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4.1 The Turn Toward Pure Abstraction |
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199 | (1) |
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4.2 Geometrical Abstraction |
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200 | (2) |
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4.3 Nongeometrical Abstract Art and the Abstract Expressionists |
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202 | (1) |
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4.4 Questions and Motivations |
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203 | (1) |
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5 Study 1 : Emotion Priming with Abstract Artworks and Faces |
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203 | (2) |
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5.1 Conclusions from Study 1 |
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204 | (1) |
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6 Study 2: Training a Computer to Discriminate Emotion in Abstract Artworks |
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205 | (6) |
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6.1 Computational Analysis |
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210 | (1) |
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6.2 Conclusions from Study 2 |
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210 | (1) |
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211 | (6) |
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212 | (1) |
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212 | (5) |
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Chapter 11 Art and Brain: The Relationship of Biology and Evolution to Art |
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217 | (18) |
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217 | (2) |
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2 Evolution of H. sapiens and Tracing the Emergence of Art |
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219 | (1) |
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220 | (3) |
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4 Biological Roots: Signals in the Display of Art |
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223 | (2) |
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5 Communication of Visual Art and Aesthetics |
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225 | (3) |
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5.1 Neural Underpinnings of Pleasure from Visual Aesthetics |
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225 | (1) |
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5.2 The Viewer: Human Neural Underpinning of Aesthetic Preference |
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226 | (2) |
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6 From Biology to Aesthetics |
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228 | (1) |
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229 | (6) |
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230 | (5) |
Index |
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235 | (8) |
Other volumes in Progress In Brain Research |
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243 | |