Art and Neuroscience

Boston Studies in the Philosophy and History of Science

Volumn 262, Issue , 2010, Pages 245-261

  Hyman, John ^a  

^a UNIVERSITY OF OXFORD   (United Kingdom)

Author keywords

Aesthetic Experience; Aesthetic Theory; Peak Shift; Unconscious Mind; Valid Interpretation

Indexed keywords

EID: 85101994299     PISSN: 00680346     EISSN: 22147942     Source Type: Book Series    
DOI: 10.1007/978-90-481-3851-7_11     Document Type: Chapter

References (11)

1. Blake, W. (1982), “Mock On, Mock On, Voltaire Rousseau”, in D. V. Erdman (ed.), The Complete Poetry and Prose of William Blake, Garden City, NY: Anchor Books, 477–478.
2. Donne, J. (1965), “To his Mistris Going to Bed”, in H. Gardner (ed.), The Elegies and The Songs and Sonnets, Oxford: Clarendon Press, 14–16.
3. Eliot, T.S. (1980), “The Love Song of J. Alfred Prufrock”, in The Complete Poems and Plays 1909–1950. London: Harcourt Brace & Company.
4. Gombrich, E. H. (2000), “Concerning ‘The Science of Art’”, Journal of Consciousness Studies 7, 8/9: 17.
5. Helmholtz, H. (1995), “On the Relation of Optics to Painting”, in D. Cahan (ed.), Science and Culture: Popular and Philosophical Essays, Chicago, IL: University of Chicago Press, 279–308.
6. Martindale, C. (1999), “Peak Shift, Prototypicality and Aesthetic Experience”, Journal of Consciousness Studies 6, 6/7: 52–54.
7. Passmore, J. (1998), Serious Art. London: Duckworth.
8. Ramachandran, V. S. (2000), “Reply to Gombrich”, Journal of Consciousness Studies 7, 8/9: 19.
9. Ramachandran, V. S. and Hirstein, W. (1999), “The Science of Art: A Neurological Theory of Aesthetic Experience”, Journal of Consciousness Studies 6, 6/7: 15–51.
10. White, C. (1999), Rembrandt as an Etcher. London: Yale University Press.
11. Zeki, S. (1999), Inner Vision: An Exploration of Art and the Brain. Oxford: Oxford University Press.