Wave of the Future? Reconsidering the Neuroscientific Turn in Art History
Bibliographic Data
| ID | 10273935 |
|---|---|
| Authors | Kate Mondloch (0009-0005-4063-1274, Kate Mondloch (educator), Department of Art History, 5229 University of Oregon, Eugene, OR 97403, U.S.A.., corresponding author) |
| Year | 2016 |
| Volume | 49 |
| Issue | 1 |
| Pages | 25-31 |
| Publication date | 2016-02-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Leonardo (JOURNAL) |
| Journal identifiers | ISSN: 0024-094X • E-ISSN: 1530-9282 |
| Publisher | MIT Press - Journals (PUBLISHER) |
| DOI | 10.1162/leon_a_00809 |
| OpenAlex | W2055901863 |
| Language | EN |
| References cited | 4 |
This essay examines the much-contested “neuroscientific turn” in art history, taking the cues of the best of the turn while rejecting its false starts. The most promising transdisciplinary encounters spanning the brain sciences and the humanities begin from the premise that human experience is embodied, but the “body” itself is interwoven across biological, ecological, phenomenological, social and cultural planes. Certain media artworks critically engaged with neuroscience productively model such an approach. Taking Mariko Mori’s brainwave interface and multimedia installation Wave UFO (1999–2002) as a case study, the author explores how works of art may complicate and augment brain science research as well as its dissemination into other social and cultural arenas
Aesthetics · Art · Cognitive science · Cultural turn · Embodied cognition · Epistemology · Premise · Social science · Sociology · Aesthetic Perception and Analysis · Neural dynamics and brain function · Neuroscience, Education and Cognitive Function · Philosophy · Psychology
| Highly cited | No |
|---|