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The contributing authors to this book, all pre-eminent scholars in
their fields, present their current thinking about the processes
that underlie creativity and aesthetic experience. They discuss
established theory and research and provide creative speculation on
future problems for inquiry and new approaches to conceptualising
and investigating these phenomena. The book contains many new
findings and ideas never before published or new by virtue of the
novel context in which they are incorporated. Thus, the chapters
present both new approaches to old problem and new ideas and
approaches not yet explored by leading scholars in these fields.
The first part of the book is devoted to understanding the nature
of the perceptual/cognitive and aesthetic processes that occur
during encounters with visual art stimuli in everyday settings, in
museums and while watching films. Also discussed in Part I is how
cultural and anthropological approaches to the study of aesthetic
responses to art contribute to our understanding about the
development of a culture's artistic canon and to cross-cultural
aesthetic universals. Part II presents new dimensions in the study
of creativity. Two approaches to the development of a comprehensive
theory of creativity are presented: Sternberg's Investment Theory
of Creativity and a systems perspective of creativity based on a
metaindividual world model. Also covered are the factors that
contribute to cinematic creativity and a film's cinematic success,
and the complex nature of the creative processes and research
approaches involved in the innovative product design necessitated
by the introduction of electronics in consumer products. Part III
deals with the application of concepts and models from cognitive
psychology to the study of music, literary meaning and the visual
arts. The contributors outline a model of the cognitive processes
involved in real-time listening to music, investigate what readers
are doing when they read a literary text, describe what research
shows about the transfer of learning from the arts to non-arts
cognition and discuss the kinds of thinking skills that emerge from
the study of the visual arts by high school students. In Part IV,
the authors focus on the interactive contribution of observers'
personalities and affect states to the creation and perception of
art. The chapters include a discussion of the internal mechanisms
by which personality expresses itself during the making of and the
response to art; the relationship between emotion and cognition in
aesthetics, in terms of the interaction of top-down and bottom-up
processes across the time course of an aesthetic episode; the
affective processes that take place during pretend play and their
impact on the development of creativity in children and the causes
and consequences of listener's intense experiences while listening
to music.
In this book, well-known scholars describe new and exciting
approaches to aesthetics, creativity and psychology of the arts,
approaching these topics from a point of view that is biological or
related to biology and answering new questions with new methods and
theories. All known societies produce and enjoy arts such as
literature, music and visual decoration or depiction. Judging from
prehistoric archaeological evidence, this arose very early in human
development. Furthermore, Darwin was explicit in attributing
aesthetic sensitivity to lower animals. These considerations lead
us to wonder whether the arts might not be evolutionarily based.
Although such an evolutionary basis is not obvious on the face of
it, the idea has recently elicited considerable attention. The book
begins with a consideration of ten theories on the evolutionary
function of specific arts such as music and literature. The theory
of evolution was first drawn up in biology, but evolution is not
confined to biology: genuinely evolutionary theories of
sociocultural change can be formulated. That they need to be
formulated is shown in several chapters that discuss regular trends
in literature and scientific writings. Psychologists have recently
rediscovered the obvious fact that thought and perception occur in
the brain, so cognitive science moves ever closer to neuroscience.
Several chapters give overviews of neurocognitive and neural
network approaches to creativity and aesthetic appreciation. The
book concludes with two exciting describing brain-scan research on
what happens in the brain during creativity and presenting a close
examination of the relationship between genetically transmitted
mental disorder and creativity.
In this book, well-known scholars describe new and exciting
approaches to aesthetics, creativity and psychology of the arts,
approaching these topics from a point of view that is biological or
related to biology and answering new questions with new methods and
theories. All known societies produce and enjoy arts such as
literature, music and visual decoration or depiction. Judging from
prehistoric archaeological evidence, this arose very early in human
development. Furthermore, Darwin was explicit in attributing
aesthetic sensitivity to lower animals. These considerations lead
us to wonder whether the arts might not be evolutionarily based.
Although such an evolutionary basis is not obvious on the face of
it, the idea has recently elicited considerable attention. The book
begins with a consideration of ten theories on the evolutionary
function of specific arts such as music and literature. The theory
of evolution was first drawn up in biology, but evolution is not
confined to biology: genuinely evolutionary theories of
sociocultural change can be formulated. That they need to be
formulated is shown in several chapters that discuss regular trends
in literature and scientific writings. Psychologists have recently
rediscovered the obvious fact that thought and perception occur in
the brain, so cognitive science moves ever closer to neuroscience.
Several chapters give overviews of neurocognitive and neural
network approaches to creativity and aesthetic appreciation. The
book concludes with two exciting describing brain-scan research on
what happens in the brain during creativity and presenting a close
examination of the relationship between genetically transmitted
mental disorder and creativity.
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