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Exploring Transdisciplinarity in Art and Sciences
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 Zoï 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.
Paintings and Sculptures: Where Do We Look First?
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...
Dynamics of Sensorimotor Interactions in Embodied Cognition
We interact with our environment through perception and action. Perception is based on sensory components while actions are based on motor components. It is commonly accepted that these sensorimotor components constitute the foundation of knowledge (i.e., percepts and concepts), action and emotion. However, whether or not these components remain part of knowledge, action and emotion is still being debated (see Glenberg, Witt, & Metcalfe, 2013). According to the classical symbolic/abstracted approach of cognition, cognitive processes operate on symbols that are abstracted from these components. Reversely, embodied cognition theory states that knowledge, action and emotion remain grounded in t...
Aesthetics and Neuroscience
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.
Representations of 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.
Eye Movements in Reading
Eye Movements in Reading: Perceptual and Language Processes focuses on eye movement and cognitive processes as a way to study the reading process. This book also discusses the different aspects of reading. Organized into seven parts encompassing 26 chapters, this book begins with a discussion on the perceptual and psychophysical factors essential to eye movement during reading. This book then explains how some psychophysical factors, such as type size and masking, affect the reading performance. Other chapters consider the role of transient and sustained cells, as well as their possible effects on reading. This text also examines the size of the perceptual span in reading and the integration of information across eye movement. Finally, this book explains the eye movement abnormalities, general eye movement parameters, and the cognitive processes within the reading disabled group. This book is a valuable resource to optometrists, scientists, field researchers, and readers who are interested in the reading process.
Paintings and Sculptures: Where Do We Look First?
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...
Current Oculomotor Research
This volume contains the proceedings of the Ninth European Conference on Eye Movements (ECEM 9), held in Ulm, Germany, on September 23-26, 1997. ECEM 9 con tinued a series of conferences initiated by Rudolf Groner of Bern, Switzerland, in 1981 which, from its very beginning, has brought together scientists from very diverse fields with a common interest in eye movements. About 40 of the papers presented at ECEM 9 have been selected for presentation in full length while others are rendered in condensed form. There is a broad spectrum of motives why people have become involved in, and fas cinated by, eye movement research. Neuroscientists have been allured by the prospect of understanding anat...
Folk Illusions
Wiggling a pencil so that it looks like it is made of rubber, "stealing" your niece's nose, and listening for the sounds of the ocean in a conch shell– these are examples of folk illusions, youthful play forms that trade on perceptual oddities. In this groundbreaking study, K. Brandon Barker and Claiborne Rice argue that these easily overlooked instances of children's folklore offer an important avenue for studying perception and cognition in the contexts of social and embodied development. Folk illusions are traditionalized verbal and/or physical actions that are performed with the intention of creating a phantasm for one or more participants. Using a cross-disciplinary approach that comb...
Thinking Touch in Partnering and Contact Improvisation
What happens when artists take touch as a starting point for embodied research? This collection of essays offers unique insights into contact in dance, by considering the importance of touch in choreography, philosophy, scientific research, social dance, and education. The performing arts have benefitted from the growth of an ever-widening spectrum of tactile explorations since the advent of contact improvisation (CI) in 1972. Building on the research proposal CI offers, partnering forms such as tango, martial arts, and somatic therapies have helped shape the landscape of embodied practices in contemporary dance. Presenting a range of practitioner and scholarly perspectives relevant to undergraduate students and researchers alike, this volume considers the significance of touch in the development of 21st century pedagogy, art-making, and performance philosophy.
