Abstract
In experimental aesthetics the relationship between the arts and cognitive neuroscience has gained particular interest in recent years. But has cognitive neuroscience indeed something to offer when studying the arts? Here we present a theoretical frame within which the concept of complementarity as a generative or creative principle is proposed; neurocognitive processes are characterized by the duality of complementary activities like bottom-up and top-down control, or logistical functions like temporal control and content functions like perceptions in the neural machinery. On that basis a thought pattern is suggested for aesthetic appreciations and cognitive appraisals in general. This thought pattern is deeply rooted in the history of philosophy and art theory since antiquity; and complementarity also characterizes neural operations as basis for cognitive processes. We then discuss some challenges one is confronted with in experimental aesthetics; in our opinion, one serious problem is the lack of a taxonomy of functions in psychology and neuroscience which is generally accepted. This deficit makes it next to impossible to develop acceptable models which are similar to what has to be modeled. Another problem is the severe language bias in this field of research as knowledge gained in many languages over the ages remains inaccessible to most scientists. Thus, an inspection of research results or theoretical concepts is necessarily too narrow. In spite of these limitations we provide a selective summary of some results and viewpoints with a focus on visual art and its appreciation. It is described how questions of art and aesthetic appreciations using behavioral methods and in particular brain-imaging techniques are analyzed and evaluated focusing on such issues like the representation of artwork or affective experiences. Finally, we emphasize complementarity as a generative principle on a practical level when artists and scientists work directly together which can lead to new insights and broader perspectives on both sides.
Highlights
Reviewed by: Leonid Perlovsky, Harvard University and Air Force Research Laboratory, USA Claus-Christian Carbon, University of Bamberg, Germany
Has cognitive neuroscience something to offer when studying the arts? Here we present a theoretical frame within which the concept of complementarity as a generative or creative principle is proposed; neurocognitive processes are characterized by the duality of complementary activities like bottom-up and top-down control, or logistical functions like temporal control and content functions like perceptions in the neural machinery
“Nobody can clap with one hand only” is an old Chinese saying, and these few words describing complementarity as a generative principle express in a simple metaphor what we would like to suggest as a thought pattern for aesthetic appreciations and for cognitive appraisals or evaluations in general
Summary
COMPLEMENTARITY AS GENERATIVE PRINCIPLE WITHIN A HISTORICAL FRAME “Nobody can clap with one hand only” is an old Chinese saying, and these few words describing complementarity as a generative principle express in a simple metaphor what we would like to suggest as a thought pattern for aesthetic appreciations and for cognitive appraisals or evaluations in general. The thought pattern of complementarity in different cultures exists since ages, and this thought pattern has been related to aesthetic appreciations This principle has not arrived in modern times, or it has been overlooked in its relevance, in spite of the important work of Worringer (1908/2007) on abstraction and empathy, or the thinking of Kandinsky (1912/2009) when he talks in his book “On the Spiritual in Art” (originally written in Russian and German) about creating harmony in pieces of art; the entire book of Kandinsky can be understood as an expression of complementarity as a creative principle. Both knowledge systems interact and have to come together, and as has been suggested previously (Pöppel and Bao, 2011), they are unified both by the aesthetic and the mimetic principle
Sign-in/Register to view highlights & summary Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
