Abstract
This paper, which is limited to the art of painting, aims to support the idea that a substantial insertion of concepts and methods drawn on dream psychology and dream neuroscience can contribute to the advancements of Neuroesthetics. The historical and scientific reasons are discussed that have determined the so far poor role played by the dream phenomenon in the developments of Neuroesthetics. In the light of recent advancements in psychophysiological research, a method of analyzing artistic products is proposed that is based on the recognition of precise features proper of the dreaming experience. Four examples are given for application of this method, regarding works by Giorgione, Leonardo da Vinci, Vermeer, and Millais, respectively.
Highlights
Edited by: Oshin Vartanian, Defence Research and Development Canada; Toronto Research Centre, CanadaReviewed by: Susana Martinez-Conde, State University of New York, USAIngegerd Carlsson, Lund University, SwedenDepartment of Computer Science, University of Pisa, Largo PontecorvoThe aim of this paper is to support the idea that a substantial insertion of contents drawn on dream psychology can contribute to the advancements of Neuroesthetics
Remarkable results obtained in the field of Neuroesthetics are shortly summarized and the poor role played by the dream phenomenon is underlined
The purpose of this study has been to support the idea that an insertion of issues connected to the dream experience can be useful for the advancements of Neuroesthetics
Summary
This paper, which is limited to the art of painting, aims to support the idea that a substantial insertion of concepts and methods drawn on dream psychology and dream neuroscience can contribute to the advancements of Neuroesthetics. The historical and scientific reasons are discussed that have determined the so far poor role played by the dream phenomenon in the developments of Neuroesthetics. In the light of recent advancements in psychophysiological research, a method of analyzing artistic products is proposed that is based on the recognition of precise features proper of the dreaming experience. Four examples are given for application of this method, regarding works by Giorgione, Leonardo da Vinci, Vermeer, and Millais, respectively
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