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E-raamat: Fine Arts, Neurology, and Neuroscience: New Discoveries and Changing Landscapes

Volume editor (Professor of Neurology, George Washington University Medical School, Washington, DC, USA), Volume editor (University of California,U.S.A.), Volume editor (Genolier Swiss Medical Network,Switzerland), Volume editor (Washington University, St. Louis, MO, USA)
  • Formaat: PDF+DRM
  • Sari: Progress in Brain Research
  • Ilmumisaeg: 12-Sep-2013
  • Kirjastus: Elsevier Science Ltd
  • Keel: eng
  • ISBN-13: 9780444632883
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  • Formaat: PDF+DRM
  • Sari: Progress in Brain Research
  • Ilmumisaeg: 12-Sep-2013
  • Kirjastus: Elsevier Science Ltd
  • Keel: eng
  • ISBN-13: 9780444632883
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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.

Muu info

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