LEADER 03456oam 2200601Ia 450 001 9910791140103321 005 20231120212401.0 010 $a0-292-79345-6 024 7 $a10.7560/752795 035 $a(CKB)2560000000007576 035 $a(OCoLC)501014427 035 $a(CaPaEBR)ebrary10340889 035 $a(SSID)ssj0000340821 035 $a(PQKBManifestationID)11233241 035 $a(PQKBTitleCode)TC0000340821 035 $a(PQKBWorkID)10387759 035 $a(PQKB)10883776 035 $a(MiAaPQ)EBC3443435 035 $a(MdBmJHUP)muse2403 035 $a(Au-PeEL)EBL3443435 035 $a(CaPaEBR)ebr10340889 035 $a(DE-B1597)586929 035 $a(DE-B1597)9780292793453 035 $a(EXLCZ)992560000000007576 100 $a20090330d2009 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe neural imagination $eaesthetic and neuroscientific approaches to the arts /$fIrving Massey 205 $a1st ed. 210 1$aAustin :$cUniversity of Texas Press,$d2009. 215 $a1 online resource (xvi, 224 pages, 8 unnumbered pages of plates) $cillustrations (some color), music 225 1 $aCognitive approaches to literature and culture series 300 $aBibliographic Level Mode of Issuance: Monograph 311 0 $a0-292-75279-2 320 $aIncludes bibliographical references and index. 327 $tFrontmatter --$tContents --$tList of Illustrations --$tPreface --$tAcknowledgments --$tPart 1: The Imagination, Neural --$tChapter 1. Background, Purposes, and Limitations of the Inquiry --$tChapter 2. Neuroscience and the Visual Arts --$tChapter 3. At the Limits of Language --$tChapter 4. Music and Language in Dream --$tPart 2: The Imagination, Plain --$tChapter 5. The Three Fields --$tPart 3: Conclusions --$tChapter 6. Ideas and Values --$tBibliography --$tIndex 330 $aArt and technology have been converging rapidly in the past few years; an important example of this convergence is the alliance of neuroscience with aesthetics, which has produced the new field of neuroaesthetics. Irving Massey examines this alliance, in large part to allay the fears of artists and audiences alike that brain science may "explain away" the arts. The first part of the book shows how neuroscience can enhance our understanding of certain features of art. The second part of the book illustrates a humanistic approach to the arts; it is written entirely without recourse to neuroscience, in order to show the differences in methodology between the two approaches. The humanistic style is marked particularly by immersion in the individual work and by evaluation, rather than by detachment in the search for generalizations. In the final section Massey argues that, despite these differences, once the reality of imagination is accepted neuroscience can be seen as the collaborator, not the inquisitor, of the arts. 410 0$aCognitive approaches to literature and culture series. 517 3 $aAesthetic and neuroscientific approaches to the arts 606 $aNeurosciences and the arts 615 0$aNeurosciences and the arts. 676 $a701/.1 700 $aMassey$b Irving$0458671 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910791140103321 996 $aThe neural imagination$93774734 997 $aUNINA