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Projective Processes and Neuroscience in Art and Design

Book Description

Recent advances in neuroscience suggest that the human brain is particularly well-suited to design things: concepts, tools, languages and places. Current research even indicates that the human brain may indeed have evolved to be creative, to imagine new ideas, to put them into practice, and to critically analyze their results. Projective Processes and Neuroscience in Art and Design provides a forum for discussion relating to the intersection of projective processes and cognitive neuroscience. This innovative publication offers a neuroscientific perspective on the roles and responsibilities of designers, artists, and architects, with relation to the products they design. Expanding on current research in the areas of sensor-perception, cognition, creativity, and behavioral processes, this publication is designed for use by researchers, professionals, and graduate-level students working and studying the fields of design, art, architecture, neuroscience, and computer science.

Table of Contents

  1. Cover
  2. Title Page
  3. Copyright Page
  4. Book Series
    1. Mission
    2. Coverage
  5. Editorial Advisory Board
  6. Foreword
  7. Preface
    1. DESCRIPTION OF THE BOOK STRUCTURE AND CONTRIBUTING CHAPTERS
    2. REFERENCES
  8. Acknowledgment
  9. Section 1: Multidimensional Brain: When Art Meets Neuroscience Meets Art
    1. Chapter 1: Perceptual Processes and Multisensoriality
      1. ABSTRACT
      2. WHY?
      3. EXPOUNDING ON THE WHAT
      4. NÃO SE APROXIME / DO NOT COME CLOSER
      5. ABOUT THE ANSWERS
      6. REFERENCES
      7. KEY TERMS AND DEFINITIONS
      8. ENDNOTES
    2. Chapter 2: Inside/Out
      1. ABSTRACT
      2. INTRODUCTION
      3. BACKGROUND
      4. MAIN FOCUS OF THE CHAPTER
      5. CONCLUSION
      6. ACKNOWLEDGMENT
      7. REFERENCES
      8. KEY TERMS AND DEFINITIONS
      9. ENDNOTES
    3. Chapter 3: Cells, Organisms, and the Living Brain as New Media for Art
      1. ABSTRACT
      2. INTRODUCTION
      3. REFERENCES
      4. KEY TERMS AND DEFINITIONS
  10. Section 2: Aesthetic Experience and Emotion in Art and Design: Crossing Domains in Philosophy, Psychology, and Neuroscience
    1. Chapter 4: Neuroesthetics
      1. ABSTRACT
      2. INTRODUCTION
      3. SCIENCES AND HUMANITIES: A NECESSARY CONVERGENCE, NOT AN INEVITABLE CONFRONTATION
      4. LANGUAGE AND THOUGHT
      5. LANGUAGE AND CONSCIOUS EXPERIENCE
      6. LANGUAGE AND ATTENTION
      7. SUBJECTIVITY
      8. AESTHETIC EXPERIENCE AND EMOTION
      9. NEUROESTHETICS: NEW DIRECTIONS IN THE DEBATE ABOUT THE ROLE OF ART
      10. ARTIFICATION AND POSTMODERNITY
      11. REFERENCES
      12. KEY TERMS AND DEFINITIONS
    2. Chapter 5: A Study on the Interface between Arts and Sciences
      1. ABSTRACT
      2. INTRODUCTION
      3. BACKGROUND: SCIENCE, ART AND AESTHETICS
      4. MAIN FOCUS: NEUROESTHETICS AND COGNITIVE NEUROSCIENCE OF ART
      5. CONCLUSION
      6. REFERENCES
      7. KEY TERMS AND DEFINITIONS
      8. ENDNOTES
    3. Chapter 6: Neuroaesthetics
      1. ABSTRACT
      2. INTRODUCTION
      3. AESTHETIC EXPERIENCE
      4. PERCEPTUAL ANALYSIS
      5. CHALLENGES
      6. CONCLUSION
      7. ACKNOWLEDGMENT
      8. REFERENCES
      9. KEY TERMS AND DEFINITIONS
    4. Chapter 7: Understanding the Interdisciplinary Meaning of Beauty to Neuroscience
      1. ABSTRACT
      2. INTRODUCTION
      3. THE CLASSIC CONCEPTION OF BEAUTY
      4. THE MULTIPLICITY AND AMBIGUITY OF BEAUTY IN NEUROSCIENCE
      5. CONCLUSION
      6. REFERENCE
      7. KEY TERMS AND DEFINITIONS
      8. ENDNOTES
    5. Chapter 8: Design and Emotion
      1. ABSTRACT
      2. INTRODUCTION
      3. DESIGN AS A DYNAMIC FIELD
      4. OBJECTS AS DESIGN SIGNS
      5. DESIGN PRODUCTS: CULTURE AND INDUSTRIALIZATION
      6. DESIGNERS: DREAMS INTERPRETERS, TRANSLATORS AND PRODUCERS OF SIGNS
      7. MATERIAL CULTURE
      8. DESIGN AND EMOTION
      9. DESIGN SPEECHES
      10. DESIGN IN THE PROCESS OF COMMUNICATION
      11. DESIGN AND VISUAL PERCEPTION
      12. CONCLUSION
      13. REFERENCES
      14. KEY TERMS AND DEFINITIONS
  11. Section 3: Mapping and Designing Cognition: Artificial and Natural Perspectives of Learning and Memory in Design and iCinema
    1. Chapter 9: Qualia and Extended Field of Contemporary Design
      1. ABSTRACT
      2. INTRODUCTION
      3. QUALIA AND CONSCIOUSNESS
      4. CONTEXTS: QUALIA AND DESIGN
      5. THINGS THAT CREATE QUALIA
      6. DIARY OF A CLOTHESPIN
      7. CONCLUSION
      8. REFERENCES
      9. KEY TERMS AND DEFINITIONS
    2. Chapter 10: Conceptual Experiments in Automated Designing
      1. ABSTRACT
      2. INTRODUCTION
      3. BACKGROUND OF INTERACTIONS WITH EXPERIENCE
      4. IMPLEMENTATION OF QA-APPROACH
      5. CONCEPTUAL EXPERIMENTING
      6. FUTURE RESEARCH DIRECTIONS
      7. CONCLUSION
      8. REFERENCES
      9. ADDITIONAL READING
      10. KEY TERMS AND DEFINITIONS
    3. Chapter 11: Can We Induce a Cognitive Representation of a Prosthetic Arm by Means of Crossmodal Stimuli?
      1. ABSTRACT
      2. INTRODUCTION
      3. BACKGROUND
      4. COGNITIVE ASPECTS ASSOCIATED WITH THE PROTOCOL
      5. SOLUTIONS AND RECOMMENDATIONS
      6. FUTURE RESEARCH DIRECTIONS
      7. CONCLUSION
      8. REFERENCES
      9. KEY TERMS AND DEFINITIONS
      10. ENDNOTES
    4. Chapter 12: Cognitive Processes in Fashion Design
      1. ABSTRACT
      2. INTRODUCTION
      3. ABSTRACTION AND LEARNING
      4. MATERIALS AND METHODS
      5. RESULTS OBTAINED AND DISCUSSION
      6. FUTURE RESEARCH DIRECTIONS
      7. CONCLUSION
      8. REFERENCES
      9. KEY TERMS AND DEFINITIONS
    5. Chapter 13: Cognitive Processes in the Reception of Interactive Short Film Script
      1. ABSTRACT
      2. INTRODUCTION
      3. PRESENTATION OF THE SCRIPTED STORY
      4. METHOD
      5. JUDGMENT, IMAGINATION, AND RECOGNITION: RECEPTION
      6. CONCLUSION
      7. REFERENCES
      8. KEY TERMS AND DEFINITIONS
    6. Chapter 14: Understanding How the Mind Works
      1. ABSTRACT
      2. INTRODUCTION
      3. CONTEXT IS EVERYTHING: LESSONS FROM #THEDRESS
      4. THE ROOTS OF HUMAN BEHAVIOR
      5. THE NEUROSCIENCE OF CREATIVITY
      6. CONCLUSION
      7. REFERENCES
      8. KEY TERMS AND DEFINITIONS
  12. Compilation of References
  13. About the Contributors