03456oam 2200601Ia 450 991079114010332120231120212401.00-292-79345-610.7560/752795(CKB)2560000000007576(OCoLC)501014427(CaPaEBR)ebrary10340889(SSID)ssj0000340821(PQKBManifestationID)11233241(PQKBTitleCode)TC0000340821(PQKBWorkID)10387759(PQKB)10883776(MiAaPQ)EBC3443435(MdBmJHUP)muse2403(Au-PeEL)EBL3443435(CaPaEBR)ebr10340889(DE-B1597)586929(DE-B1597)9780292793453(EXLCZ)99256000000000757620090330d2009 uy 0engurcn|||||||||txtrdacontentcrdamediacrrdacarrierThe neural imagination aesthetic and neuroscientific approaches to the arts /Irving Massey1st ed.Austin :University of Texas Press,2009.1 online resource (xvi, 224 pages, 8 unnumbered pages of plates) illustrations (some color), musicCognitive approaches to literature and culture seriesBibliographic Level Mode of Issuance: Monograph0-292-75279-2 Includes bibliographical references and index.Frontmatter --Contents --List of Illustrations --Preface --Acknowledgments --Part 1: The Imagination, Neural --Chapter 1. Background, Purposes, and Limitations of the Inquiry --Chapter 2. Neuroscience and the Visual Arts --Chapter 3. At the Limits of Language --Chapter 4. Music and Language in Dream --Part 2: The Imagination, Plain --Chapter 5. The Three Fields --Part 3: Conclusions --Chapter 6. Ideas and Values --Bibliography --IndexArt and technology have been converging rapidly in the past few years; an important example of this convergence is the alliance of neuroscience with aesthetics, which has produced the new field of neuroaesthetics. Irving Massey examines this alliance, in large part to allay the fears of artists and audiences alike that brain science may "explain away" the arts. The first part of the book shows how neuroscience can enhance our understanding of certain features of art. The second part of the book illustrates a humanistic approach to the arts; it is written entirely without recourse to neuroscience, in order to show the differences in methodology between the two approaches. The humanistic style is marked particularly by immersion in the individual work and by evaluation, rather than by detachment in the search for generalizations. In the final section Massey argues that, despite these differences, once the reality of imagination is accepted neuroscience can be seen as the collaborator, not the inquisitor, of the arts.Cognitive approaches to literature and culture series.Aesthetic and neuroscientific approaches to the artsNeurosciences and the artsNeurosciences and the arts.701/.1Massey Irving458671MiAaPQMiAaPQMiAaPQBOOK9910791140103321The neural imagination3774734UNINA