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Contemporary dance theatre in neurocognitive perspective – Granhøj Dans case

100%
Ciesielski T.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2016
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vol. 19
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issue 2
76-90
EN
The article 'Contemporary Dance Theatre in Neurocognitive Perspective – Granhøj Dans Case' concerns the description and interpretation of contemporary dance techniques using the example of the method created by Nancy Spanier (USA) and developed by Palle Granhøj (Denmark). The precise description of the performance's creation is presented from the perspective of a dancer taking part in a Granhøj Dans production. The neurocogitive context is then used to prove the director's statement, that the method 'allows the dancers to be more human, less dancers', thus creating a specific 'humanistic' effect in the aesthetics of the performance, which, as it is argued, exists in contemporary dance in general. Therefore, the obstruction technique serves as a valid example for applying cognitive sciences and neurosciences in the field of dance studies.
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Projektowanie wirtualnych galerii sztuki a neuroestetyka

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Świerczyńska-Kaczor U.
Annales Universitatis Mariae Curie-Skłodowska, sectio H – Oeconomia
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2016
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vol. 50
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issue 2
EN
The author raises the question, whether the research resulting from neuropsychology of art can be relevant and valuable in the field of designing online art galleries. The article outlines: 1) the research problems and methods of neuroaesthetics, 2) the results of selected empirical studies from literature; 3) the way in which the results of neuroaesthetic studies may be read and interpreted in the field of website design. Both fields, neuroaesthetics and the design of online art galleries, are new areas of scientific research. Therefore, the attempt to seek common ground for both scientific areas, raises many challenges and unknowns in the process of research.
PL
W artykule podjęto analizę problemu dotyczącego przełożenia wyników badań z zakresu neuropsychologii prowadzonych w obszarze sztuki na wnioski przydatne w tworzeniu projektów wirtualnych galerii sztuki wizualnej. Prowadzone rozważania obejmują charakterystykę zakresu i metod badań prowadzonych w obszarze neuroestetyki i prezentację wyników wybranych badań literatury przedmiotu. W oparciu o wnioski wynikające z odniesienia wyników badań neuroestetyki do obszaru projektowania komunikacji internetowej w opracowaniu omówiono przykładowe rozwiązania budowy stron internetowych galerii sztuki. Badania dotyczące projektowania wirtualnych galerii sztuki oraz badania obrazujące aktywność mózgu w trakcie odbioru sztuki to wciąż nowe obszary nauki, o stosunkowo skromnym dorobku badań empirycznych. Niniejsza praca służy zatem również zainicjowaniu dyskusji nad możliwościami stworzenia wspólnej dla obu obszarów płaszczyzny badań. 
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Neuroestetyka: czy przyszłość estetyki leży w neuronauce?

100%
Bremer J.
Estetyka i Krytyka
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2013
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issue 1(28)
9-28
EN
Neuroaesthetics is an interdisciplinary science linking together research in the areas of philosophy, psychology, the history of art, and neuroscience. It is an element within the tendency towards embracing an experimental approach to aesthetics that emerged in the 19th century, and as such constitutes one of the oldest branches of experimental psychology. Those who work in this field are primarily concerned with the following: (a) the influence of neurological damage on changes in artistic creativity, (b) conducting quan titative research and experimentation in the realm of aesthetics, (c) making parallel observations about any relations of dependency that might hold between neuronal states and aesthetic experience. In the article below we mainly consider the last of these. The basic assumptions of classical experimental aesthetics, together with its connections with neuroscience, are first of all briefly presented. Then we outline the general characteristics of the theories of Semir Zeki and Vilayanur Ramachandran, the pioneers of neuroaesthetic research. Following on from this, we undertake a critical analysis of the theories presented, with respect to the adequacy of their way of construing aesthetic experience. We focus on methodological issues essential to the pursuit of neuroaesthetic research.
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Artysta - neurobiolog? Malarskie manipulacje procesami widzenia

89%
Łynnik M.
Z Teorii i Praktyki Dydaktycznej Języka Polskiego
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2020
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vol. 29
57-70
EN
Art and the notion of beauty related thereto are both disciplines and states which are quite unobvious and thereby requiring us to ask the question: Why is it that human beings have in their minds an inherent need to witness the beauty along with - resultant - need to create and receive art? The author of the text - by devising some neurobiological tools - attempts to elicit relative laws of beauty reception, and simultaneously she utilises the instruments of neuroaesthetics, which is a field of science that investigates the impact of art on processes taking place in the human brain. She explores, among other things, mechanisms put to use, consciously or otherwise, by artists in order to make their works a peculiar stimulus. The author describes a series of “tricks” used by visual arts creators who model the particular ways the visual perception processes function.
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Art and emotion: the variety of aesthetic emotions and their internal dynamics

88%
Przybysz P.
Interdisciplinary Studies in Musicology
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2020
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issue 20
51-63
EN
The aim of this paper is to propose an interpretation of aesthetic emotions in which they are treated as various affective reactions to a work of art. I present arguments that there are three different types of such aesthetic emotional responses to art, i.e., embodied emotions, epistemic emotions and contextual-associative emotions. I then argue that aesthetic emotions understood in this way are dynamic wholes that need to be explained by capturing and describing their internal temporal dynamics as well as by analyzing the relationships with the other components of aesthetic experience.
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Hipoteza artyfikacji i jej znaczenie dla kognitywizmu, neuroestetyki i estetyki ewolucyjnej

88%
Dissanayake E.
Kultura-Społeczeństwo-Edukacja
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2015
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vol. 8
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issue 2
183-210
PL
The artification hypothesis presented in this paper is based on the assumption that small children have the ability not ju st to persuade other to give them physical safety but also to initiate social bonds and emotional interaction. Thus the interactions between the child and mother are adaptive in their character and as such they were not considered by evolutionary psychologists. The other factor of artification is the ritualization of those interactions. The article delivers many examples of proto aesthetic actions and artifications stressing out also the religious aspect of the phenomenon. The author concludes with the notion that artification and aesthetic agency are adaptive as such and they were just as important in the human evolution as nonverbal information transmission.
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Neurobiologia na tropach uniwersalizmu percepcji sztuki. Prawa estetyki V.S. Ramachandrana i W. Hirsteina w kontekście dzieła sztuki filmowej. Studium przypadku: Nadja Michaela Almereydy

65%
Przybysz H.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2020
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vol. 27
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issue 36
EN
Vilayanur S. Ramachandran and William Hirstein are the authors of the concept of a work of art understood as an exaggerated stimulus in the creative process. The aim of art, according to them, is (a) to show the essence of something in a perceptually accessible way, and (b) to evoke a strong reaction from the recipient. Scientists say that the aim of art is not to perfectly reproduce reality, but to present the very essence of an object, scene or event by exaggerating its most characteristic features, while ignoring non-essential features. The effect of this treatment is a super stimulus, which is a supernatural stimulus that does not exist in the real world. Researchers have proposed seven universal – evolutionarily and culturally – neurological laws of aesthetic experience in relation to the visual arts (painting and sculpture). I propose to extend the tool apparatus of neuroaesthetics from the area of unimodal arts to a work of film art. It is an interesting tool for research into film aesthetics and masterpieces. In this paper, I will discuss these laws and make a representative analysis of them in a visual case study of Michael Almereyda’s film Nadja (1994). The main goal of my work is to show the stricto naturalistic position. Man is not aware that the first stages of cognitive perception have a significant impact on his interest in art, what he pays attention to, and on aesthetic experiences on a sensual, unconscious level. It is an interdisciplinary attempt to provide consistency of research approaches in the humanities with the naturalistic one in the area of natural sciences, which shows that on some levels we are very similar to each other and only in the process of ontogenesis do we acquire individuality – that we are governed by universal laws, not only those related to ourindividual interests and tastes.
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Cognitive phenomenology : the promising pragmatic marriage of methodologies in the field of theatre studies?

63%
Motal J.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2016
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vol. 19
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issue 2
59-75
EN
The article presents cognitive phenomenology as a new methodological possibility for the humanities, and especially theatre studies, avoiding communication theory reductionism. The author adapts the perspective of amalgamated mind (ROWLANDS 2010), and elaborates its usefulness for the study of art. The article also interprets Aristotle's practical wisdom as a concept fully compatible with the cognitive perspective, and shows that the cognitive perspective should not be contradictory to the phenomenological one. The relation of phenomenality to the amalgamated mind is also discussed. The author concludes that the 'marriage of methodologies' will be successful, but only if the irreducible natures of phenomenality and embodied mind are preserved.
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