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VIZUÁLNE UMENIE A OBRAT K NEUROVEDÁM

100%

Ihringová K.

ESPES

2015

tom 4

nr 2

4 – 9

The basic problem of the contemporary art theory is a new focus on an image. This emphasis of visuality brings amongst other radical paradigms interdisciplinary impact to the contemporary culture, too. Not only humanity, but also natural scientific disciplines are able to find common fields of his scientific interest. The result is a profiling of new scientific discipline – neuroaesthetics. Its leaders came up with a bold statement that located the beauty centre.

Looking for Beauty in the Brain

100%

Weed E.

Estetika: The Central European Journal of Aesthetics

2008

tom 45

nr 1

5-23

The emerging research area of neuroaesthetics has provoked a good deal of discussion. Although it seems reasonable to describe the experience of aesthetic enjoyment as a mental event, and it also seems reasonable to claim that mental states must be related to brain states, the search for specific brain states that correlate with aesthetic enjoyment is tricky, despite the many recent advances in brain-imaging technology. Correlating the aesthetic experience with specific brain states involves defining the aesthetic experience. By applying a model from the world of empirical consciousness research to three neuroaesthetic experiments, the author shows that each of these studies approaches the object of study, the aesthetic experience, from a different perspective. By employing a framework to make explicit the sometimes implicit assumptions involved in neuroaesthetic research, he hopes to open a new avenue for the continuation of an already fascinating discussion.

Funkce Rozumu v estetickém prožitku

100%

Zuska V.

Teorie vědy (Theory of Science)

2010

tom 32

nr 2

227-234

The study considers Whitehead's conception of the Reason (articulated especially in his The Function of Reason) as a regulative factor in every aesthetic experience along with Whitehead's opinion of the basic aesthetic character of every experience. These thoughts are compared with contemporary findings of neuroaesthetics and the Reception aesthetics, in order to demonstrate how stimulating Whitehead's philosophy is even for the present-day aesthetics.

SÚČASNÉ PERSPEKTÍVY KONCEPTU MYSLE SUSANNE K. LANGEROVEJ

88%

Košičanová A.

ESPES

2022

tom 11

nr 1

99 - 114

The continual possibility of aesthetic experience throughout history has prompted philosophical reflections about its nature and meaning in human life. This article outlines some neuroscientific ways of understanding their functioning, focusing specifically on Susanne Langer’s contribution. Commonly subsumed under the heading ‘philosophy of mind’ – especially due to the trilogy Mind: An Essay on Human Feeling – Langer’s interests in the human mind developed already in the 1950s, as witnessed by the paper The Deepening Mind. A Half-Century of American Philosophy. Following these lines, the article discusses Langer’s philosophical approach from the perspective of a (neuro)aesthetic inquiry, emphasizing particularly the importance of the non-discursive realm of the mind. It also shows how Langer’s account might be seen as going beyond that of John Dewey, which is often referred to as an advancement in the historical development of neuro-aesthetics.

Twórczośc jako mechanizm i dynamizm jaźni (Między naurobiologią i neurokulturą

63%

Kobierzycki T.

nr 4(190)

581-595

The paper presents the concept of creativity of the Polish neuropsychiatrist, Kazimierz Dąbrowski (1902-1980), creator of the theory of positive disintegration. This author assumed that human psychological development is a creative process. The subject of creativity is the self (personality), which is the result of the development of five types overexcitability- of sensual, motor, imaginative, intellectual and emotional. The kind of increased mental excitability determines the type of work. Some claims of the theory of positive disintegration I confront in brain research made by Antonio Damasio.