Neuroarthistory pdf epub mobi txt 电子书 下载 2024


Neuroarthistory

简体网页||繁体网页
John Onians
Yale University Press
2008-03-19
192
USD 40.00
Hardcover
9780300126778

图书标签: 艺术评论  精神分析  johnOnians  Neuroarthistory  2018   


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发表于2024-12-23

Neuroarthistory epub 下载 mobi 下载 pdf 下载 txt 电子书 下载 2024

Neuroarthistory epub 下载 mobi 下载 pdf 下载 txt 电子书 下载 2024

Neuroarthistory pdf epub mobi txt 电子书 下载 2024



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This provocative book offers a fascinating account of one of the newest and most exciting fields in the human sciences: neuroarthistory. In recent decades there has been a dramatic increase in both the quantity and the quality of our knowledge about the brain, especially the visual brain. The number of art historians making use of the new neuroscience is growing and the insights they gain by doing so are compelling. Knowledge of phenomena such as neural plasticity and neural mirroring is making it possible to answer with a new level of precision some of the most challenging questions about both the creative process and the response to art. This is equally true whether their framing is positivist or postmodernist. John Onians devotes each of his twenty-five chapters to a specific writer, or 'neural subject', each of whom recognised that the mind was a part of human nature. As the neural basis of the mind became more and more apparent, they became clearer about how an understanding of that neural basis could contribute to an understanding of all human behaviours, including art. The level of agreement among major thinkers such as Montesquieu, Burke, Kant, Marx and Freud, and leading art historians such as Pliny, Winckelmann, Ruskin, Pater, Taine, Wolfflin, Riegl, Gombrich and Baxandall, not to mention artists such as Alberti and Leonardo and scientists such as Aristotle at the beginning and Zeki at the end of the twenty-five centuries covered in the book, is startling. So, too, is the extent to which their penetrating observations match the findings of modern neuroscience. Anyone wondering whether to making use of neuroscience themselves should read this book. It will change most readers' view not only of the history of art history, but of the history of art itself - and even of the history of culture.

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本以為是通過各個時期對於腦結構,視神經的認識來重新闡釋亞里士多德以來對於藝術史的書寫,結果只是用現代研究成果去套古人的“前瞻性。”而其中所謂的科學基本不出mirror neurons和"neural plasticity"兩點。更讓人匪夷所思的是每章的結尾Onians還用環境決定論來解釋每個哲人的論點(比如貢布裡希思想中的自覺性源於他二戰時在倫敦等公交車過程中耳聞目染的各種視覺衝擊)。如果想了解神經生物學給藝術史帶來的啟示,Margaret Livingstone的Vision and Art (第二版, 2013年)要有意思的多。

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本以為是通過各個時期對於腦結構,視神經的認識來重新闡釋亞里士多德以來對於藝術史的書寫,結果只是用現代研究成果去套古人的“前瞻性。”而其中所謂的科學基本不出mirror neurons和"neural plasticity"兩點。更讓人匪夷所思的是每章的結尾Onians還用環境決定論來解釋每個哲人的論點(比如貢布裡希思想中的自覺性源於他二戰時在倫敦等公交車過程中耳聞目染的各種視覺衝擊)。如果想了解神經生物學給藝術史帶來的啟示,Margaret Livingstone的Vision and Art (第二版, 2013年)要有意思的多。

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从亚里士多德到孟德斯鸠都是平铺直叙,到温克尔曼和康德有个小高峰,接着是维舍尔到沃尔夫林的二次高峰,最后从贡布里希开始就进入了激战,尽管作者作为贡布里希学生的身份,多少粉饰了这场争论的“血腥程度”

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re-write history of art

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本以為是通過各個時期對於腦結構,視神經的認識來重新闡釋亞里士多德以來對於藝術史的書寫,結果只是用現代研究成果去套古人的“前瞻性。”而其中所謂的科學基本不出mirror neurons和"neural plasticity"兩點。更讓人匪夷所思的是每章的結尾Onians還用環境決定論來解釋每個哲人的論點(比如貢布裡希思想中的自覺性源於他二戰時在倫敦等公交車過程中耳聞目染的各種視覺衝擊)。如果想了解神經生物學給藝術史帶來的啟示,Margaret Livingstone的Vision and Art (第二版, 2013年)要有意思的多。

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