The Experience of Mathematical Beauty and Its Neural Correlates
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Mathematical Melodies: the Beauty of Numbers “What Are You Studying?”
Mathematical Melodies: The Beauty of Numbers “What are you studying?” I asked a senior a couple of years ago. “Visual Art,” he replied. I said something like, “I never was good at drawing or anything like that,” and he responded, “I get that a lot,” seeming slightly annoyed. I hope that he did not think I was dismissing art simply because I am not very good at making it. In fact, I have a great appreciation for painting, sculpture, and art of all kinds. I recognize two facts: that visual art is aesthetic, and that someone with no particular gifts as an artist can appreciate it. Now I am the senior, and often when I tell someone that I study mathematics, I get a reply like, “I never could get the hang of math.” Now it is certainly fine if someone is not very good at math, but I always hope that their statement does not mean they dismiss mathematics from their life. In this article, I would like to demonstrate two facts: that mathematics is aesthetic, and that someone with no particular gifts as a mathematician can appreciate it. If I can get you to believe these two facts, then it would be just as desirable and beneficial to your life to take math seriously as it is for me to take art seriously. While it may be true that a non- mathematician cannot appreciate the beauty of mathematics as much as a mathematician can, I also doubt I can appreciate a painting as well as my artist friend can. -
Introduction and Methods the Field of Neuroesthetics Is a Recent Marriage
Introduction and Methods The field of neuroesthetics is a recent marriage of the realms of neuroscience and art. The objective of neuroesthetics is to comprehend the perception and subjective experience of art in terms of their neural substrates. In this study, we examined the effect of a number of original pieces of art on the brain of the artist herself and on that of a novice as she experienced the artwork for the first time. This allowed us to compare neural responses not only amongst different visual conditions but also between an expert (i.e. the artist) and a novice. Lia Cook lent her artwork to be used in this study. The pieces, which she believes to have an innate emotional quality, are cotton and rayon textiles. All of the pieces are portraits with a somewhat abstract, pixelated appearance imparted by the medium. In order to better understand the neural effects of the woven facial images, we used several types of control images. These included (i) scrambled woven pieces, or textiles that were controlled for color, contrast, and size but contained no distinct facial forms; and (ii) photographs, which were all photographs of human faces but were printed on heavy paper and lacked the texture and unique visual appearance of the textiles. All of the pieces are 12.5 in. x 18 in. The expert and novice were each scanned with functional MRI while they viewed and touched the tapestries and photographs. The subjects completed 100 trials divided across two functional scans. Each trial lasted a total of 12 s, with jittered intervals of 4 s to 6 s between trials. -
The Right Hemisphere in Esthetic Perception
ORIGINAL RESEARCH ARTICLE published: 14 October 2011 HUMAN NEUROSCIENCE doi: 10.3389/fnhum.2011.00109 The right hemisphere in esthetic perception Bianca Bromberger, Rebecca Sternschein, Page Widick,William Smith II and Anjan Chatterjee* Department of Neurology, The University of Pennsylvania, Philadelphia, PA, USA Edited by: Little about the neuropsychology of art perception and evaluation is known. Most neuropsy- Idan Segev, The Hebrew University of chological approaches to art have focused on art production and have been anecdotal and Jerusalem, Israel qualitative. The field is in desperate need of quantitative methods if it is to advance. Here, Reviewed by: Juliana Yordanova, Bulgarian Academy we combine a quantitative approach to the assessment of art with modern voxel-lesion- of Sciences, Bulgaria symptom-mapping methods to determine brain–behavior relationships in art perception. Bernd Weber, We hypothesized that perception of different attributes of art are likely to be disrupted by Rheinische-Friedrich-Wilhelms damage to different regions of the brain. Twenty participants with right hemisphere dam- Universität, Germany age were given the Assessment of Art Attributes, which is designed to quantify judgments *Correspondence: Anjan Chatterjee, Department of of descriptive attributes of visual art. Each participant rated 24 paintings on 6 conceptual Neurology, The University of attributes (depictive accuracy, abstractness, emotion, symbolism, realism, and animacy) Pennsylvania, 3 West Gates, 3400 and 6 perceptual attributes (depth, color temperature, color saturation, balance, stroke, and Spryce Street, Philadelphia, PA simplicity) and their interest in and preference for these paintings. Deviation scores were 19104, USA. e-mail: [email protected] obtained for each brain-damaged participant for each attribute based on correlations with group average ratings from 30 age-matched healthy participants. -
Files/2014 Women and the Big Picture Report.Pdf>, Accessed 6 September 2018
The neuroscientific uncanny: a filmic investigation of twenty-first century hauntology GENT, Susannah <http://orcid.org/0000-0003-0091-2555> Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/26099/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/26099/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. THE NEUROSCIENTIFIC UNCANNY: A FILMIC INVESTIGATION OF TWENTY-FIRST CENTURY HAUNTOLOGY Susannah Gent A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy October 2019 Candidate Declaration I hereby declare that: 1. I have not been enrolled for another award of the University, or other academic or professional organisation, whilst undertaking my research degree. 2. None of the material contained in the thesis has been used in any other submission for an academic award. 3. I am aware of and understand the University’s policy on plagiarism and certify that this thesis is my own work. The use of all published or other sources of material consulted have been properly and fully acknowledged. 4. The work undertaken towards the thesis has been conducted in accordance with the SHU Principles of Integrity in Research and the SHU Research Ethics Policy. -
Pattern, the Visual Mathematics: a Search for Logical Connections in Design Through Mathematics, Science, and Multicultural Arts
Rochester Institute of Technology RIT Scholar Works Theses 6-1-1996 Pattern, the visual mathematics: A search for logical connections in design through mathematics, science, and multicultural arts Seung-eun Lee Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Lee, Seung-eun, "Pattern, the visual mathematics: A search for logical connections in design through mathematics, science, and multicultural arts" (1996). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. majWiif." $0-J.zn jtiJ jt if it a mtrc'r icjened thts (waefii i: Tkirr. afaidiid to bz i d ! -Lrtsud a i-trio. of hw /'' nvwte' mfratWf trawwi tpf .w/ Jwitfl- ''','-''' ftatsTB liovi 'itcj^uitt <t. dt feu. Tfui ;: tti w/ik'i w cWii.' cental cj lniL-rital. p-siod. [Jewy anJ ./tr.-.MTij of'irttion. fan- 'mo' that. I: wo!'.. PicrdoTrKwe, wiifi id* .or.if'iifer -now r't.t/ry summary Jfem2>/x\, i^zA 'jX7ipu.lv z&ietQStd (Xtrma iKc'i-J: ffocub. The (i^piicaiom o". crWx< M Wf flrtu't. fifesspwn, Jiii*iaiin^ jfli dtfifi,tmi jpivxei u3ili'-rCi luvjtv-tzxi patcrr? ;i t. drifters vcy. Symmetr, yo The theoretical concepts of symmetry deal with group theory and figure transformations. Figure transformations, or symmetry operations refer to the movement and repetition of an one-, two , and three-dimensional space. (f_8= I lhowtuo irwti) familiar iltjpg . -
Neuroesthetics and Healthcare Design
Neuroesthetics and Healthcare Design AUTHOR(S) Upali Nande, PhD; Debajyoti Pati, PhD; and Katie McCurry ABSTRACT: While there is a growing consciousness about the importance of visually pleasing environments in healthcare design, little is known about the key underlying mechanisms that enable aesthetics to play an instrumental role in the caregiving process. Hence it is often one of the first items to be value engineered. Aesthetics has (rightfully) been provided preferential consideration in such pleasure settings such as museums and recreational facilities; but in healthcare settings it is often considered expendable. Should it be? In this paper the authors share evidence that visual stimuli undergo an aesthetic evaluation process in the human brain by default, even when not prompted; that responses to visual stimuli may be immediate and emotional; and that aesthetics can be a source of pleasure, a fundamental perceptual reward that can help mitigate the stress of a healthcare environment. The authors also provide examples of studies that address the role of specific visual elements and visual principles in aesthetic evaluations and emotional responses. Finally, they discuss the implications of these findings for the design of art and architecture in healthcare. FOR COMPLETE ARTICLE PLEASE FOLLOW THE LINK BELOW TO HERD JOURNAL Link: http://www.herdjournal.com/ME2/dirmod.asp?sid=&nm=&type=Abstract&mod=Pu blications%3A%3AArticle&mid=8F3A7027421841978F18BE895F87F791&tier=1 &id=ADECCB0061A6483AB6E92E9379350BCE&Author=&ReturnUrl=dirmod%2 Easp%3Fsid%3D%26nm%3D%26type%3DPublishing%26mod%3DPublications %253A%253AArticle%26mid%3D8F3A7027421841978F18BE895F87F791%26ti er%3D4%26id%3DADECCB0061A6483AB6E92E9379350BCE For a personal copy of this article please contact: t 214.969.3320 Debajyoti Pati at [email protected] www.cadreResearch.org Email: [email protected] CADRE is a nonprofit research and development initiative, supported and funded in part by HKS, Inc. -
What Is Mathematical Beauty? Teaching Through Big Ideas and Connections
What is Mathematical Beauty? Teaching through Big Ideas and Connections Jo Boaler, Professor of Mathematics Education, co-director of youcubed Jen Munson, Doctoral Candidate, Mathematics Education Cathy Williams, co-director of youcubed Stanford University Mathematics is a beautiful subject. Ask mathematicians and others what they love about the subject and they will talk about the amazing connections that thread through the terrain, unifying the diferent ideas. There are not many facts or methods to remember in mathematics but there are a few really big and important ideas that are connected to each other and that infuse the subject. Yet when we ask students what they think math is, most will say that it is a lot of diferent rules and methods. This is really unfortunate as students who believe mathematics is a set of methods to be remembered are the lowest achieving students, worldwide, as revealed by PISA data (Boaler & Zoido, 2016). So, why do so few students, or teachers, see mathematics as a set of rich ideas and connections? One of the reasons is that teachers are given sets of standards to teach and no matter how good the standard writers are, they all cut mathematics up into small pieces and give teachers small atomized content areas – usually a set of methods – to teach. The connections disappear – teachers cannot see them and they are lost from students’ learning pathways. Instead, teachers see the lists of content – often 100 or more methods in a year – and work systematically through them. This often leads teachers to skim through content quickly as when mathematics is disconnected and ofered in small sections there is a lot to get through in any year. -
The Aesthetic Mind This Page Intentionally Left Blank the Aesthetic Mind Philosophy and Psychology
The Aesthetic Mind This page intentionally left blank The Aesthetic Mind Philosophy and Psychology EDITED BY Elisabeth Schellekens and Peter Goldie 1 3 Great Clarendon Street, Oxford OX26DP Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York # the several contributors 2011 The moral rights of the authors have been asserted Database right Oxford University Press (maker) First published 2011 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose the same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available Typeset by SPI Publisher Services, Pondicherry, India Printed in Great Britain on acid-free paper by MPG Books Group, Bodmin and King’s Lynn ISBN 978–0–19–969151–7 13579108642 Contents List of Figures viii Notes on Contributors ix Introduction 1 Elisabeth Schellekens and Peter Goldie Part I. -
Reflections on Mathematics and Aesthetics
rivista on-line del Seminario Permanente di Estetica anno VIII, numero 1 Reflections on Mathematics and Aesthetics John L. Bell My work has always tried to unite the true with the beautiful and when I had to choose one or the other, I usually chose the beautiful. Hermann Weyl I am interested in mathematics only as a creative art. G. H. Hardy 1. Mathematics as embodying intelligible beauty The association of mathematics with the Beautiful was first explicitly made by Plato (through the words of Socrates). In the Philebus Socrates says: I do not mean by beauty of form such beauty as that of animals or pictures... but ... under- stand me to mean straight lines and circles... for these I affirm to be not relatively beautiful, like other things, but eternally and absolutely beautiful. For Plato the essence of mathematical beauty was its absoluteness, its resistance to change and fashion. Some four centuries later, Plutarch asserts: «The purpose of geometry is to draw us away from the sensible and the perishable to the intelligible and eternal». The word «intelligible» has two meanings. First, of course, the usual meaning of «comprehensible» or «capable of being understood». But the word also has an older meaning, namely, «capable of being apprehended only by the intellect, not by the sens- es»; in this guise it serves as an antonym to «sensible». It is, I believe, precisely with this signification that Plutarch uses the word «intelligible» in this quotation. Plutarch doesn’t mention «beauty» here, but he does link «sensible» with «perisha- ble2 and «intelligible» with «eternal». -
Wabi-Sabi Mathematics
Journal of Humanistic Mathematics Volume 6 | Issue 1 January 2016 Wabi-Sabi Mathematics Jean-Francois Maheux Université du Québec à Montréal Follow this and additional works at: https://scholarship.claremont.edu/jhm Part of the Education Commons, Epistemology Commons, Esthetics Commons, Logic and Foundations of Mathematics Commons, and the Other Philosophy Commons Recommended Citation Maheux, J. "Wabi-Sabi Mathematics," Journal of Humanistic Mathematics, Volume 6 Issue 1 (January 2016), pages 174-195. DOI: 10.5642/jhummath.201601.11 . Available at: https://scholarship.claremont.edu/jhm/vol6/iss1/11 ©2016 by the authors. This work is licensed under a Creative Commons License. JHM is an open access bi-annual journal sponsored by the Claremont Center for the Mathematical Sciences and published by the Claremont Colleges Library | ISSN 2159-8118 | http://scholarship.claremont.edu/jhm/ The editorial staff of JHM works hard to make sure the scholarship disseminated in JHM is accurate and upholds professional ethical guidelines. However the views and opinions expressed in each published manuscript belong exclusively to the individual contributor(s). The publisher and the editors do not endorse or accept responsibility for them. See https://scholarship.claremont.edu/jhm/policies.html for more information. Wabi-Sabi Mathematics Cover Page Footnote I would like to thank Draco Szathmary, Maude Bélanger and Franciele da Silva for their contribution to my thinking for this paper; and the reviewers whose comments helped me introduce these ideas in a more inviting way. This work is available in Journal of Humanistic Mathematics: https://scholarship.claremont.edu/jhm/vol6/iss1/11 Wabi-Sabi Mathematics Jean-Fran¸coisMaheux Department of Mathematics, Universit´edu Qu´ebec `aMontr´eal,CANADA [email protected] Abstract Mathematics and aesthetics have a long history in common. -
UNIVERSITY of CALIFORNIA, SAN DIEGO the Monochroidal Artist Or
UNIVERSITY OF CALIFORNIA, SAN DIEGO The Monochroidal Artist or Noctuidae, Nematodes and Glaucomic Vision [Reading the Color of Concrete Comedy in Alphonse Allais’ Album Primo-Avrilesque (1897) through Philosopher Catherine Malabou’s The New Wounded (2012)] A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History, Theory and Criticism by Emily Verla Bovino Committee in charge: Professor Jack Greenstein, Chair Professor Norman Bryson Professor Sheldon Nodelman Professor Ricardo Dominguez Professor Rae Armantrout 2013 Copyright Emily Verla Bovino, 2013 All rights reserved. The Thesis of Emily Verla Bovino is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2013 iii EPIGRAPH PRÉFACE C’était en 18… (Ça ne nous rajeunit pas, tout cela.) Par un mien oncle, en récompense d’un troisième accessit d’instruction religieuse brillamment enlevé sur de redoutables concurrents, j’eus l’occasion de voir, avant qu’il ne partît pour l’Amérique, enlevé à coups de dollars, le célèbre tableau à la manière noire, intitulé: COMBAT DE NÈGRES DANS UNE CAVE, PENDANT LA NUIT (1) (1) On trouvera plus loin la reproduction de cette admirable toile. Nous la publions avec la permission spéciale des héritiers de l’auteur. L’impression que je ressentis à la vue de ce passionnant chef-d’oeuvre ne saurait relever d’aucune description. Ma destinée m’apparut brusquement en lettres de flammes. --Et mois aussi je serai peintre ! m’écriai-je en français (j’ignorais alors la langue italienne, en laquelle d’ailleurs je n’ai, depuis, fait aucun progrès).(1) Et quand je disais peintre, je m’entendais : je ne voulais pas parler des peintres à la façon dont on les entend les plus généralement, de ridicules artisans qui ont besoin de mille couleurs différentes pour exprimer leurs pénibles conceptions. -
The Role of Beauty in Art and Science
Anistoriton Journal, vol. 11 (2008-2009) Art 1 THE ROLE OF BEAUTY IN ART AND SCIENCE Beauty, as an ontological or empirical quality that causes aesthetic satisfaction, is presently connected as much with the arts as with the sciences. The conventional opinion that beauty is an exclusive and unique characteristic of artistic creation has substantially been abandoned: on the one hand, the arts serve various purposes and, on the other, the aesthetics of science conceives of beauty as an integral and essential part of scientific research. The visual arts, as an indication of man’s ability to express himself through images, do not always aim at aesthetic satisfaction; therefore, they shouldn’t be approached through exclusively aesthetic criteria. Many are the works of art that have been created in order to satisfy philosophical and intellectual concerns, to provoke, to alert or even to serve social, religious and political objectives. In these cases, beauty and aesthetic satisfaction are either coincidental or completely absent. This paper is focused in the visual arts and the analytical sciences of the 20th century: in the first part, the role of beauty in the arts and the aesthetics is examined, while in the second part the scientific approaches are analyzed, which at that period discovered aesthetic values inherent in scientific research, reversing the traditional perception of science as an objective, controllable rationality. The aim is to show that the role of aesthetics in the scientific approach of the world can only be the creation of the motives for productive research and the help in the discovery of true theories, while the arts can exist free from the conventions of the past which connected them absolutely to beauty.