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The book is organized around 4 sections. The first deals with the
creativity and its neural basis (responsible editor Emmanuelle
Volle). The second section concerns the neurophysiology of
aesthetics (responsible editor Zoi Kapoula). It covers a large
spectrum of different experimental approaches going from
architecture, to process of architectural creation and issues of
architectural impact on the gesture of the observer.
Neurophysiological aspects such as space navigation, gesture, body
posture control are involved in the experiments described as well
as questions about terminology and valid methodology. The next
chapter contains studies on music, mathematics and brain
(responsible editor Moreno Andreatta). The final section deals with
evolutionary aesthetics (responsible editor Julien Renoult).
Chapter "Composing Music from Neuronal Activity: The Spikiss
Project" is available open access under a Creative Commons
Attribution-NonCommercial 4.0 International License via
link.springer.com.
The book presents three studies in which eye tracking data were
collected at the Musée des Beaux-Arts in Rouen in June and July
2013. Overall, the results of those three studies highlight the
knowledge gained from the analysis of the very first saccade in a
museum context, when people look at paintings and statues. The
first study analyzes how viewers orient their first saccade on
paintings. This study shows that, in a museum, the first
saccade is attracted toward the center of paintings. This
attraction toward the paintings’ center is found in all the
subjects’ groups that we have studied. Noteworthily, this effect
is significantly less pronounced in individuals who never visit
museums. It is among amateurs, who often visit museums, that
the center attracts the most the first saccade. Among
experts, painters or art history teachers, and to a lesser extent
among amateurs, the pictorial composition largely determines the
orientation of the first saccade. We indeed found that, as soon as
the first saccade, experts orient their gaze toward the main
subject. This phenomenon seems to be explained by the fact that
experts immediately orient their gaze (here measured as the first
saccade) toward the paintings’ location conveying the most
meaning. It can either be the center, or a peripheral area,
depending on whether the paintings’ most meaningful subject is
located centrally or peripherally. The second study shows that the
center does not attract the first saccade in 5-year-old children.
This behavior appears later, in 8- to 10-year-old children.
However, noticeably, the 8–10-year-old children orient
significantly less frequently their first saccade toward the
paintings’ center as adults do, and this is also true when one
considers non-expert adult viewers. The results of the third study
focus on statues and reveal a very different oculomotor behavior:
Indeed, rather than looking at the center, statues’ viewers
exhibit a clear tendency to saccade first at the statues’
contours. This stands in contrast with the behavior that we observe
with paintings. Our study concludes that statues trigger a specific
oculomotor behavior. The latter appears to be mostly driven by the
physical presence that stone bodies incarnate. The movement and the
climax of this movement, that sculptors manage to convey, thus turn
out to attract the gaze in a unique fashion. The book concludes
that the first saccade is a powerful indicator of the oculomotor
behavior that greatly improves our comprehension of the unique
relationship between a viewer and artworks.
The book is organized around 4 sections. The first deals with the
creativity and its neural basis (responsible editor Emmanuelle
Volle). The second section concerns the neurophysiology of
aesthetics (responsible editor Zoi Kapoula). It covers a large
spectrum of different experimental approaches going from
architecture, to process of architectural creation and issues of
architectural impact on the gesture of the observer.
Neurophysiological aspects such as space navigation, gesture, body
posture control are involved in the experiments described as well
as questions about terminology and valid methodology. The next
chapter contains studies on music, mathematics and brain
(responsible editor Moreno Andreatta). The final section deals with
evolutionary aesthetics (responsible editor Julien Renoult).
Chapter "Composing Music from Neuronal Activity: The Spikiss
Project" is available open access under a Creative Commons
Attribution-NonCommercial 4.0 International License via
link.springer.com.
This edited monograph provides a compelling analysis of the
interplay between neuroscience and aesthetics. The book broaches a
wide spectrum of topics including, but not limited to, mathematics
and creator algorithms, neurosciences of artistic creativity,
paintings and dynamical systems as well as computational research
for architecture. The international authorship is genuinely
interdisciplinary and the target audience primarily comprises
readers interested in transdisciplinary research between
neuroscience and the broad field of aesthetics.
This edited monograph provides a compelling analysis of the
interplay between neuroscience and aesthetics. The book broaches a
wide spectrum of topics including, but not limited to, mathematics
and creator algorithms, neurosciences of artistic creativity,
paintings and dynamical systems as well as computational research
for architecture. The international authorship is genuinely
interdisciplinary and the target audience primarily comprises
readers interested in transdisciplinary research between
neuroscience and the broad field of aesthetics.
First published in 1991, this stimulating volume on vision extends
well beyond the traditional areas of vision research and places the
subject in a much broader philosophical context. The emphasis
throughout is to integrate and illuminate the visual process. The
first three parts of the volume provide authoritative overviews on
computational vision and neural networks, on the neurophysiology of
visual cortex processing, and on eye-movement research. Each of
these parts illustrates how different research perspectives may
jointly solve fundamental problems related to the efficiency of
visual perception, to the relationship between vision and
eye-movements and to the neurophysiological 'codes' underlying our
visual perceptions. In the fourth part, leading vision scientists
introduce the reader to some major philosophical problems in vision
research such as the nature of 'ultimate' codes for perceptual
events, the duality of psycho-physics, the bases of visual
recognition and the paradigmatic foundations of computer-vision
research. This volume will be of interest to all neuroscientists,
cognitive scientists, neurophysiologists, psychologists and to
those working on neural networks, AI and computer vision.
This stimulating volume on vision extends well beyond the
traditional areas of vision research and places the subject in a
much broader philosophical context. The emphasis throughout is to
integrate and illuminate the visual process. The first three parts
of the volume provide authoritative overviews on computational
vision and neural networks, on the neurophysiology of visual cortex
processing, and on eye-movement research. Each of these parts
illustrates how different research perspectives may jointly solve
fundamental problems related to the efficiency of visual
perception, to the relationship between vision and eye-movements
and to the neurophysiological 'codes' underlying our visual
perceptions. In the fourth part, leading vision scientists
introduce the reader to some major philosophical problems in vision
research such as the nature of 'ultimate' codes for perceptual
events, the duality of psycho-physics, the bases of visual
recognition and the paradigmatic foundations of computer-vision
research.
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