By Zoï Kapoula, Marine Vernet

This edited monograph presents a compelling research of the interaction among neuroscience and aesthetics. The publication broaches a large spectrum of subject matters together with, yet no longer constrained to, arithmetic and author algorithms, neurosciences of creative creativity, work and dynamical platforms in addition to computational study for structure. The overseas authorship is really interdisciplinary and the objective viewers basically contains readers drawn to transdisciplinary examine among neuroscience and the wide box of aesthetics.

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Additional resources for Aesthetics and Neuroscience: Scientific and Artistic Perspectives

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Henri Bergson (1911) Our species, in line with other species gifted with the ability to represent the world they perceive, must make a formal sense of the world in order to understand it and to be best adapted to it. We know how to foster perceptions that lead to a relevant response, we know how to inhibit parasitic and secondary sensations (Sacchet 2015). We know how to shape the white noise of our senses. Subject to the constraint of performance, the human being also inherits from his filiation the optimization processes of his adaptation, especially in terms of speed of response and energy saving criteria.

For each task, the stimulus is an image to which people respond by writing (TTCT-Verbal) or drawing (TTCT-Figural). The TTCT measures four factors: Fluency shows the ability to produce many figural images (number of relevant ideas). Flexibility shows the ability to produce different ideas (number of ideas’ categories). Originality shows the ability to produce uncommon responses (number of statistically non-frequent ideas). Finally, elaboration shows the ability to develop and elaborate an idea (number of added details, ideas).

Each division produces spirals of different shapes and sizes. ” (Michel 1964) Even if we may never be certain that the thinkers that have left only written or reported records were authentic synaesthetes and heuraesthetes, we can investigate the value of what they expressed of their intuitive experience. The creative experience of Giordano Bruno also invites questions: If one talks about ‘magic’, one must talk about ‘mental magic’, in other words this particular type of genius ability of seeing the world through a different eye: an eye that captures images and knows how to transform them into active mental structures.

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