The Foundations of Aesthetics, Art & Art Education

The Foundations of Aesthetics, Art & Art Education

The Foundations of Aesthetics, Art & Art Education

The Foundations of Aesthetics, Art & Art Education

Synopsis

Part One: Biological Bases Aesthetics, Psychobiology, and Cognition by Colin Martindale Analog Art and Digital Art: A Brain-Hemisphere Critique of Modern Painting by Paul Vitz Part Two: Psychological Bases Creativity and Problem Finding in Art by M. Csikzentmihalyi and J.w. Getzels Personality and Scientific Aesthetics by H.J. Eysenck Part Three: Philosophical and Social Foundations Aesthetics as Foundations of Art Education by H.S. Broudy On the Deschooling Artists, or, the Meaning and Functions of the New Avant-Garde by Stefan Morawski Part Four: Issues in Education Cultural Dimensions in the Teaching of Art by June King McFee A Propositional View of Aesthetic Experienceing for Research and Teaching in Art Education by Ronald W. Neperud The Significance of the Computer in Art by Edward R. Pope Programmed Paintings: Elementary School Children's Computer-Generated Designs by Joachim F. Wohlwill and Suzanne D. Wills

Excerpt

Modern developments in the biological sciences represent some of the grandest accomplishments of twentieth- century science. Where neuroscience is concerned, it is probably true that more has been learned about the brain in the past twenty years than in all of recorded history. This explosion of knowledge and method has not left aesthetics and the arts untouched. Subfields such as neuropsychology, psychobiology, and psychophysiology have been sources of research and theory in aesthetics.

Another major development in modern science has been the rise of cognitive science, or the "mind's new science" (Gardner, 1985). Cognitive science and cognitive psychology have come to represent increasingly dominant perspectives in a wide range of human affairs, including language, learning and education, intelligence and problem solving, the human use of information and telecommunication technologies, robotics, psychotherapies, and recently the arts, among many other domains.

The two chapters in Part One discuss two major approaches to psychobiology and aesthetics, and offer new interpretations, drawing to some extent upon contemporary cognitive psychology.

Martindale, in his chapter "Aesthetics, Psychobiology, and Cognition," re-examines the most influential psychobiological theory of aesthetics of our times, that of Berlyne (1971). Berlyne, in his now classic 1960 volume Conflict, Arousal and Curiosity and in some earlier writings, had introduced a physiological arousal theory to account for a wide range of motivational, emotional, and cognitive phenomena, including aesthetic enjoyment and preference. In his 1971 volume Aesthetics and Psychobiology . . .

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