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In recent years, neuroscientists have made ambitious attempts to
explain artistic processes and spectatorship through brain imaging
techniques. But can brain science really unravel the workings of
art? Is the brain in fact the site of aesthetic appreciation?
Embodying Art recasts the relationship between neuroscience and
aesthetics and calls for shifting the focus of inquiry from the
brain itself to personal experience in the world. Chiara
Cappelletto presents close readings of neuroscientific and
philosophical scholarship as well as artworks and art criticism,
identifying their epistemological premises and theoretical
consequences. She critiques neuroaesthetic reductionism and its
assumptions about a mind/body divide, arguing that the brain is
embodied and embedded in affective, cultural, and historical
milieus. Cappelletto considers understandings of the human brain
encompassing scientific, philosophical, and visual and performance
arts discourses. She examines how neuroaesthetics has constructed
its field of study, exploring the ways digital renderings and
scientific data have been used to produce the brain as a cultural
and visual object. Tracing the intertwined histories of brain
science and aesthetic theory, Embodying Art offers a strikingly
original and profound philosophical account of the human brain as a
living artifact.
In recent years, neuroscientists have made ambitious attempts to
explain artistic processes and spectatorship through brain imaging
techniques. But can brain science really unravel the workings of
art? Is the brain in fact the site of aesthetic appreciation?
Embodying Art recasts the relationship between neuroscience and
aesthetics and calls for shifting the focus of inquiry from the
brain itself to personal experience in the world. Chiara
Cappelletto presents close readings of neuroscientific and
philosophical scholarship as well as artworks and art criticism,
identifying their epistemological premises and theoretical
consequences. She critiques neuroaesthetic reductionism and its
assumptions about a mind/body divide, arguing that the brain is
embodied and embedded in affective, cultural, and historical
milieus. Cappelletto considers understandings of the human brain
encompassing scientific, philosophical, and visual and performance
arts discourses. She examines how neuroaesthetics has constructed
its field of study, exploring the ways digital renderings and
scientific data have been used to produce the brain as a cultural
and visual object. Tracing the intertwined histories of brain
science and aesthetic theory, Embodying Art offers a strikingly
original and profound philosophical account of the human brain as a
living artifact.
Images are not neutral conveyors of messages shipped around the
globe to achieve globalized spectatorship. They are powerful forces
that elicit very diverse responses and can resist new visual
hegemonies of our global world. Bringing together case studies from
the field of media, art, politics, religion, anthropology and
science, this volume breaks new ground by reflecting on the very
power of images beyond their medial exploitation. The contributions
by Hans Belting, Susan Buck-Morss, Georges Didi-Huberman, W.J.T.
Mitchell, and Ticio Escobar among others testify that globalization
does not necessarily equal homogenization, and that images can open
up alternative ways of picturing what is to come.
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