By Gregory Minissale
Whereas fresh stories in neuroscience and psychology have make clear our sensory and perceptual reports of paintings, they've got but to provide an explanation for how modern paintings downplays perceptual responses and, as an alternative, encourages conceptual proposal. 'The Psychology of up to date artwork' brings jointly an important advancements in contemporary clinical examine on visible belief and cognition and applies the result of empirical experiments to analyses of latest artistic endeavors now not more often than not addressed by way of mental reviews. the writer explains, basically, how neuroaesthetics, embodiment, metaphor, conceptual mixing, located cognition and prolonged brain supply clean views on particular modern artistic endeavors - together with these of Marina Abramović, Francis Alÿs, Martin Creed, Tracey Emin, Felix Gonzales-Torres, Marcus Harvey, Mona Hatoum, Thomas Hirschorn, Gabriel Orozco, Marc Quinn and Cindy Sherman. This publication will attract psychologists, cognitive scientists, artists and artwork historians, in addition to these attracted to a deeper knowing of latest artwork
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Additional info for The psychology of contemporary art
2 Coordinating embodied action with reasoning: painting or drawing; re-enacting and retracing the steps of a thief; acting on the stage; playing the piano; looking for lost keys; coordinating embodied perceptual processes and conceptual analysis, for example when examining a modernist sculpture that requires us to walk around it, through it and under it. 3 Running through counterfactual or hypothetical scenarios and events (requiring a suspension of disbelief for the sake of a logical experiment).
I put abstract feelings on the same level as abstract thoughts. Abstract sensation would be aesthetic as opposed to sensuous sensation’ (Jung, 1921/1971, p. 678). 4 Concepts are not merely mental entities that are held in the memory as ﬁxed representations; they are continually combined with incoming perceptual signals that help to provide such concepts with unprecedented detail and individuality. Choosing what we feel to be the right concept to describe a situation, which is itself full of groups of perceptions, sensations and imponderables, can be crucially important if we are to avoid putting ourselves into danger, for example, or when categorising a situation as pleasurable, giving us a sense of agency.
This picture is simply enormous (almost three metres tall) and shows us a woman cradled by her own arms with curious lines written all over her body. As the artist states about the picture: ‘The lines on her body are the marks they make before you have liposuction done to you. They draw these things that look like targets. I like this idea of mapping of the body. like geographical contours on a map. I didn’t draw on to the body. I wanted the idea of cutting into the paint. Like you would cut into the body.