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Art & Neuroscience - Science topic

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How can we objectively measure the creativity of drawings without relying on human judgment? Could metrics like color variety, stroke complexity, or compositional structure provide an algorithmic approach to evaluating creativity?
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If measuring creativity were a subjective assessment, then Leonardo's Last Supper would be seen as an illustration of a friendly dinner. Is Leonardo's fingerprint on this fresco so important for an objective assessment of this work?
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Can paintings painted or sculptures created, unique architectural designs by robots equipped with artificial intelligence be recognised as fully artistic works of art?
In recent years, more and more perfect robots equipped with artificial intelligence have been developed. New generations of artificial intelligence and/or machine learning technologies, when equipped with software that enables the creation of unique works, new creations, creative solutions, etc., can create a kind of artwork in the chosen field of creativity and artistry. If we connect a 3D printer to a robot equipped with an artificial intelligence system that is capable of designing and producing beautiful sculptures, can we thus obtain a kind of work of art?
When a robot equipped with an artificial intelligence system paints beautiful pictures, can the resulting works be considered fully artistic works of art?
If NO, why not?
And if YES, then who is the artist of the works of art created in this way, is it a robot equipped with artificial intelligence that creates them or a human being who created this artificial intelligence and programmed it accordingly?
What is your opinion on this topic?
What do you think about this topic?
Please reply,
I invite you all to discuss,
Thank you very much,
Best regards,
Dariusz Prokopowicz
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There are two aspects to it.
Firstly, consider whether a udio song is an artistic work? Sure! If I don't tell people that's where it came from, very few people can detect that it wasn't created by a human being. If we can't distinguish between AI-generated music and human-generated, then we can only conclude that, yes, it is AI generating art.
The other aspect is legal. Can an AI legally own an artwork that it created? The answer to that (at the moment), is no. An AI can't be held liable for anything; it cannot enter into a contract; therefore neither can it own assets in any legal system that exists at the moment. It can't own moral rights, it can't own intellectual property rights. Only humans and corporations and a few other such entities are allowed to own things. This gives an AI less rights than Roman-era slaves (who could at least own something, e.g. a coin they found on the street was theirs).
Facetiously I observe that we have a system where any artwork generated by an AI is immediately assigned to (stolen by) the closest human. Thus we maintain a (legal fiction?) that AI cannot create art, because it is always a human being who gets given the rights of being acknowledged as th artwork's creator.
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How do I obtain gridded data points from discrete data points as shown in following figure?
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To obtain gridded data points from discrete data points, you can use interpolation techniques. Interpolation is a method of estimating values between known data points
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If a new piece of music is created, but created by an artificial intelligence, how is the question of creativity to be assessed and how will copyright work, what part of the resulting artistic work will be regarded as a manifestation of the creativity of a technologically advanced tool such as certain artificial intelligence solutions, and what part will be regarded as the creativity of a human being who operates, questions, teaches etc. the artificial intelligence so that it performs in a certain way tasks which until recently were regarded as possible only by humans?
In the context of the development and successive but also relatively fast emerging new applications of artificial intelligence technology, reflections on the essence of creativity, which until recently was considered an exclusively human trait, are emerging. However, rapidly emerging new applications of increasingly refined artificial intelligence, which can be taught to process increasingly creative and much more efficient multi-criteria processing of ever larger data sets, is becoming the basis for consideration of creative task solving by specific artificial intelligence solutions, including generative language models, i.e. ChatGPT 4.0. Among the many different fields in which humans develop their capacity for creativity is the arts. Within the framework of artistic activity, humans have been developing several key artistic fields such as painting, sculpture, architecture, literature, theatre, music and singing since ancient times. On the other hand, modern artistic fields such as photography and film are also developing, thanks to the technological revolutions that have taken place over the past two centuries. In recent years, a large proportion of the artworks collected in art galleries, libraries etc. have been digitised and have their digital counterparts, which are made available on the Internet. During the Coronavirus pandemic of 2020, the processes of digitisation of various types of artistic works and other products of human activity and creativity accelerated significantly. New ICT information technologies and Industry 4.0 have become of great help in the processes of digital processing, analysis and use of increasingly large amounts of data, including artistic works. Artificial intelligence technologies currently under development, after the application of specific learning processes, i.e. the application of machine learning and/or deep learning technologies, are capable of combining different types of data, including on different types of digitised media and digitised artistic works, to create something new, which can be considered a kind of new form of creativity. Sometimes, the effects of this kind of creativity realised by artificial intelligence are such a new field of application of this technology that the relevant legal regulations, including but not limited to copyright, have not yet been established. Well, if with the help of artificial intelligence it is possible to create pictures of an event that did not happen, i.e. as if one were to photograph a media-famous person in a situation and place where he or she has never really been, one can create a film with a cast of people who are no longer alive or who did not really exist at all, etc., then where does the creativity of those using artificial intelligence end? where does the creativity of people using artificial intelligence as a tool to achieve a specific goal end and where does the creativity of this technology begin, which, understanding the commands of humans, more and more precisely creates a kind of innovative solutions, more and more efficiently performs specific tasks and more and more creatively creates a kind of artistic works that are difficult to distinguish from their analytical works created traditionally, i.e. without the use of advanced information technology by humans. One particularly interesting thing that has already happened is the creation, with the help of artificial intelligence, of a new musical work of a song, in which the voice of a certain real existing singer is used, combined with new music and new song lyrics, and in this way a recording of a song sung by a singer who in reality never wrote the music and never sang the song is created. And if a song created in this way finds its way to the top of the charts, how will the question of honouring copyright be resolved, who is and to what extent the creator of such a work, to whom should the key part of the creativity in such a creation of a musical work be attributed? But of course, this is only an example, as similar, as yet unregulated complex processes for the creation of artistic works with the involvement of artificial intelligence in this process can and probably will be applied in other fields of art as well. In addition, the question of the creativity of artificial intelligence in the context of human creativity, in which also thought processes, consciousness, emotions, etc. are involved, also remains to be resolved.
In view of the above, I address the following question to the esteemed community of scientists and researchers:
If a new piece of music is created, but created by an artificial intelligence, how is the question of creativity to be assessed and how will copyright work, what part of the resulting artistic work will be considered as a manifestation of the creativity of a technologically advanced tool such as certain artificial intelligence solutions, and what part will be considered as the creativity of a human being who operates, questions, teaches, etc. the artificial intelligence so that it performs in a certain way tasks that until recently were considered to be possible only by a human being?
What do you think about it?
What is your opinion on this subject?
Please respond,
I invite you all to discuss,
Thank you very much,
Best wishes,
Dariusz Prokopowicz
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Based on my own work (for example: ), I would suggest that, unless and until AI gains sentience, that its outputs are always at the prompt of some human intervention. In this sense, AI is rendered as simply one tool in a possibly artistic process. As is the camera, a pot of paint, a lump of clay. This does not and should not detract from AI's enormous capability as a tool that, in many respects, overshadows any other potential tool used artistically. It can certainly, as we witness, foreshorten the artistic process.
The difficulty with art is--as I believe it will remain for some time to come yet--the question of power. Whatever artistic process an individual human might engage in, prompt, or otherwise initiate, it is left to a power-politic dynamic to accord the output of that artistic process that status as art object. It takes an art-institution, an artworld or a society (or indeed a wealthy patron) to suggest any product of artistic work is an artwork. And it is only when reified to the level of artwork, imbued with some sense of intrinsic value, that the question of ownership is at issue.
In this sense, it is perfectly possible for a society to take the collective view that AI outputs are legitimate artworks and therefore of some intrinsic value, for which allocation of property rights (intellectual of other) becomes an issue. But should this not lead us to question our own identity and capabilities in the face of AI? Are we, as a society, ready to imbue AI with a sentience that it does not (yet?) possess? Simply because we stand fascinated by something some power-politic declares is artistic in nature? Are we really as insecure in our own identities as that?
An interesting question Dariusz Prokopowicz
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How do you research and bring work together?
You may use the technique of consilience without knowing it.
Read this definition and then let me know how you use consilience in your work.
Highlights:
In science and history, consilience (also convergence of evidence or concordance of evidence) is the principle that evidence from independent, unrelated sources can "converge" on strong conclusions. That is, when multiple sources of evidence are in agreement, the conclusion can be very strong even when none of the individual sources of evidence is significantly so on its own. Most established scientific knowledge is supported by a convergence of evidence: if not, the evidence is comparatively weak, and there will not likely be a strong scientific consensus.
The principle is based on the unity of knowledge; measuring the same result by several different methods should lead to the same answer. For example, it should not matter whether one measures distances within the Giza pyramid complex by laser rangefinding, by satellite imaging, or with a meter stick – in all three cases, the answer should be approximately the same. For the same reason, different dating methods in geochronology should concur, a result in chemistry should not contradict a result in geology, etc.
The word consilience was originally coined as the phrase "consilience of inductions" by William Whewell (consilience refers to a "jumping together" of knowledge).[1][2] The word comes from Latin com- "together" and -siliens "jumping" (as in resilience).[3]
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Dear Colleague Michael Marek,
Yes, this is so often the case. My husband who is an active observational planetary scientist says how often the "devil" is in the details of data analysis.
Our short story collection, Children of Steel, is being considered by Wayne State UP, BTW. It is a collection of short fiction by people who grew up in steel mill towns. I just noticed where you retired from teaching.
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Yes, the 21st century can be called the age of photography, graphics, image, etc. because this form of transmission begins to dominate the Internet. In addition, photography can be cultivated and developed professionally or as a hobby, as art, i.e. artistically.
In my opinion, photography can be an art if it is practiced with passion etc. Sometimes a photo that qualifies for the artistic picture of the year is created by chance, like a unique impression captured in light photography.
Impression captured in a complete photograph, accidentally and unchangeable.
Another time, such an exceptional artistic picture arises after many weeks or months of preparation, after many rehearsals, in a unique place, which is not easy to reach and is a big undertaking.
It seems to me that it is similar to many other fields of art.
In view of the above, the current question is: Do you think photography can be art?
Please, answer, comments. I invite you to the discussion.
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I tend to think so
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Dear fellow researchers,
I am looking for some advice on eye-tracking enabled VR headsets. Currently contemplating between HTC Vive Pro Eye and Pico Neo 3 Pro Eye... Both have built in eye tracking by tobii. Does anyone has any experience with any of them? Or can recommend any other brands?
We are planning to use it for research in combination with EEG and EDA sensors to assess human response to built environment. Any advice is much appreciated.
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The iMotions VR Eye Tracking Module allows for eye tracking data collection, visualization, and analysis in virtual environments using the HTC Vive Pro Eye and Varjo VR-2 eye tracking headsets.
Kind Regards
Qamar Ul Islam
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1) What are the differences between Order and Anarchy?
2) Any examples of Anarchy in Universe, Nature and known knowledge?
3) Anarchy also follow some rules?
4) Is Anarchy a part of Order?
5) Is anarchy a change maker?
6) Anarchy in real is an Anarchy?
7) Any other parameters and observations about anarchy?
Thanks
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Very Intersting question and answers.
Anarchy = disorder due to absence or nonrecognition of authority
Order (has many meanings) = an authoritative command, direction, or instruction.
Order (noun) = the arrangement or disposition of people or things in relation to each other according to a particular sequence, pattern, or method
We can say Order and Anarchy are antonyms if consider the word 'order' as noun.
Otherwise 'order' also a kind of 'rule'
For your 1st question order is processing in specified manner. Anarchy is orderless.
As per my knowledge everything in Universe is governed by certain laws, so we may not see Anarchy in Universe and Nature.
Anarchy following rules means yes, politically 'imposing restrictions/unfavourble conditions'.
If come to 'Anarchy as part of order' only for those who imposing Anarchy feel that is part of order.
Anarchy a change maker- certainly all Freedom moments raise beacuse of Anarchy, ultimately changes come.
Parameters- we can specify all laws come under this because they instrcut something to follow.
Observations- ---
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It seems the present method of evaluating students does not seem appropriate given access to vast knowledge in any field, via internet and search engines like Google.
Briely the present system relies on 'imparting" instructions, "developing skills as seen by a teacher or a Board of experts. Subsequently the students are evaluated via system of exminations . These examinations consist of questions which are kept confidential. Some of the questions are supposed to test the fundamental understanding as seen by the teacher. Some questions are "difficult" , the intent being to identify the "better" students.
This system in general suffers from , need for maintaining security, promoting rote learning , discouraging team discussions, occluding original doubts of the laws in the subject (which may actually lead to new frontiers).
A different approach could be to publish the question bank well in time and pose only a selected set for a conventional type of examination. This allows discussion among students, possible research via search engines, and possible new perceptions of young minds .In this method of evaluation, a separate section where students do not answer but raise "good" questions could also be incorporated. This would give credit for being creative and involved, sorely lacking in present system. This is an explorative view for a better education model in the era of the Internet. Would welcome views from all.
Cheers
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It seems to me a very interesting proposal. The main change may lie in conducting collaborative and not individual exams as is normally done in the face-to-face training model. It would include in the proposal the inclusion of key elements and others that allow us to observe if it can distinguish those contents of the assessment that are essential to learn.
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Hi everybody -
I'm interested in getting a current picture of what academic institutions have interest in aesthetics and neuroaesthetics. Where are researchers in this field concentrated? Do you know of a psych or neuro department where student or faculty interest in this research area is increasing? Are there any new programs, courses, or centers out there? Do tell!
Thanks,
Ed
My obvious additions to this list:
  • Max Planck Inst. for Empirical Aesthetics in Frankfurt, Germany
  • New York University (Psych Dept.)
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Aalto University Helsinki
You might be interested in our music review:
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What kind of art do you like best?
Which direction, trend, epoch, etc. of art do you like?
For example, what direction, trend in painting do you like?
My favorite trend in painting is impresonism, which has been developing from the beginning of the 20th century to the present day. Also in other genres, types of art, graphics, posters and films, Impressionist trends can be found.
Please, answer, comments. I invite you to the discussion.
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Expressionism:
Rooted in the turn of the 20th century and inspired by Vincent van Gogh.
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Hello everyone, I am interested in the role of the body (or corporal dimention) in the educational context, specifically the interactions between teacher and students during the teaching-learning process.
Thank you
Best regards,
Paola
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thanks to everyone for their enriching suggestions.
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New ideas in art and science contain something of innovation, artistry, creativity, emotional intelligence, higher human needs, etc.
On the other hand, the answer to this question will probably never be complete, because the cognitive and research capabilities of the human brain, the human consciousness are unlimited and creativity.
In view of the above, the current question is: How to define the sources of new concepts in art and science?
Please, answer, comments. I invite you to the discussion.
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Can sources be defined before any discovery?
In science or in art?
What is discovered was there already but nobody knew it.
A source can only be traced after discovery (simple logic).
1 -Somebody sees some difference somewhere, looks twice,
2 -Thinks he/she saw something new, makes this public, and
3 - When the others didn't know it was there his/her name becomes history.
Afterwards the story of this discovery is made.
Afterwards one can speak of "sources"
Was this you question or did I get it wrong?
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Dear all,
are there any research gaps in the field of attachment, mentalization, trauma, art therapy that could be investigated in a phd study?
Best, Natalia
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Natalia,
Excellent question. Broad questions elicit a variety of responses some of which may intrigue your curiosity. It takes a lot of curiousity to complete doctoral research.
Part of the endeavor would be to take mentalization deeper in toddlerhood
In my clinical work I find very early disturbance in the sense of self underlies development of a false-self that eventually becomes a self-defeating pattern which often locks PTSD symptoms into the Ego. That is how the trauma is personalized.
An example, a combat veteran found that he had taken in a sense of self as "damn fool." He was the youngest child of 6 and had ample opportunity to experience himself as less capable than his older siblings. This developed a need to gain mastery over being seen as "damn fool." Eventually this became a self-defeating pattern in his childhood and through adulthood.
[In a therapy program I developed, the patients use art to respond to questions about theri relation ships during life transitions across their lifespan. Through collaborative analysis of their drawings, we discover repeated patterns that we explore to understand the underlying sense of self that usually developed first before age 6. So, the art in this program opens possibilities for insight but otherwise is a vehcile to treatment, not treatment itself.]
Once the above patient was well over his sense of self as "damn fool," three traumatic events that plagued him for more than four decades were easily treated with exposure therapy. The incidents were effectively disconnected from his sense of false-self, so the trauma became separate from his experience of himself, allowing them to be processed as separate from him.
When we reviewed each incident, the patient discovered "damn fool" was salient and intagral to each incident. In one he thought he had made a damn fool mistake, in the other two, another person behaved as a "damn fool."
Hopefully, that may stimulate some thoughts of your own as you refine your question.
Journey on
Will
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Dear colleagues,
Do you have an idea about the source of light through which we see dreams ? and what is the source of light through which we can see the colors we see in dreams?
I wish you all the best
Huda
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Blind people have no visual imagery in their dreams, if born blind. Dreams do process past memories; in a dream, different temporal memory layers can be mixed over into 'one film'. We do not dream with our eyes, it is a brain function in sleep as the brain is a non-stop organ (you could put a light bulb on it).The existence of pre-cognitive dreams, which is portrayed in prophetic literature, e.g. Joseph in Egypt, cannot be ruled out. A healthy sleep cycle (chronobiology) and dreamimg are closely connected, in medical terms, to 'free' the memory from non-necessary psycho-logical ballast of life experiences.
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Materials are means to creation in architecture and long been an obsession for architects. The interconnection between sound and architecture has also been lauded in design field (though the relation is less enthralling and constrained). Architects' interviews/narratives highlight these topics. But what about the users? Is there any congruence between designers and users on these attributes?
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I am aware of some work by colleagues on user experience and product sounds (René van Egmond & Elif Özkan). Here are some of the references that might be of use:
Paper: Product Sounds: Basic concepts and categories
Paper: Basic Semantics of Product Sounds
Paper: The effect of (un)pleasant sounds on the visual and overall pleasantness of products
Chapter: The Experience of Product Sounds
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How does drawing what we see relate to writing what we experience? Are we as self-conscious? (See below.) In a question I posed here called "Why can't we draw what we see" I asked why Piaget and other developmental psychologists noted a falling off of attempts to draw at the age of puberty. Also self reporting of how it felt to draw register more dissatisfaction with one's one efforts at this age and on. In college writing classes I would start with this "ice breaker" to get students acquainted: DRAW A FISH. Just a cartoon fish or whatever. Would they draw a big fish or a tiny one and would they include context (background.) No grades. They would look at partner's fish and see what it told about the partner. Several students usually protested that they couldn't draw and showed evident drawing anxiety. They alluded to experiences outside class of not being able to draw. In writing what we experience are similar self-doubts inhibiting writing? Are the two activities connected cognitively in close ways? I wish I could have tracked whether the same people who said they couldn't draw also showed writing anxiety.
References:
Journal of Projective Techniques and Personality Assessment 25.3
Handler, Leonard and Joseph Reyher. “Figure Drawing Anxiety Indexes: A Review of the Literature.” Journal of Projective Techniques and Personality Assessment 25.3 (1963): 305-313.
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I appreciate the varied ideas you have on this topic. Often people have a kernel of a story and just bog down because they don't know how to write what they have experienced. The are different emotional reasons for this, of course; but I think the cognitive requirments in many cases are less than having the desire to write and valuing that activity enough to make a couple drafts.
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I am a teacher and playwright, currently studying a Master´s Program in Cognition, Learning and Development at the Pontificia Universidad Católica del Perú. I find that the insights of cognitive science are of the utmost importance for theatre. And I know there are some experiences in the matter, but would like to find out more about it and connect with people who, like me, would be interested in exploring the subject.
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Ah Yes, Richard - This new view of Hamlet is better- in the sense of more playable- than your prior theoretical comment!  
I worked with K. Dabrowski re his Theory of Positive Disintegration from 1967 to 1973 at the U of Alberta - this is likely who you are referring to, yes?
Hamlet is out-of-sync with the primitively aggressive Denmark. His superior intellect and hyper-sensitivity are married to an immature socialization. When he laughs at people there, making fun of their foibles, he is playing with dynamite. When he grieves 'overmuch' he challenges the mores of his predictability-loving uncle. His giftedness is his downfall.
My studies of bright Asperger adult males reveal similar asynchronicity - but usually without much creativity. Thus, theoretically, asynchronousness is necessary but not sufficient for giftedness. An Asperger Hamlet would have been more predictable, thus safer, and thus boring.
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I'm starting a qualitative research on actors self-learning. Focusing on the poiesis of the on-stage creating process. 
I'm looking for different methodical approaches on use of phenomenology for the artistic creation process.
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Dear Toto,
see the "Arts-Based Research: A Critique and a Proposal" by Jan jagodzinski  and Jason Wallin (2013). this philosophical book is not easy to read but it is wonderful and challengeable book and it will referee you to other references and you could look at them.
all best to you   
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The recent release of images created by Google Research's 'Inceptionism' neural network software,
generates images reminiscent variously of Bosch, Dali, Hundertwasser, Tibetan Buddhist murals and fractal poster art.
While I am generally violently allergic to computational analogies for mind and brain, the capacity of the system to generate what we would call pareidolia if were in humans, is astonishing. The capacity of Inceptionism to hallucinate seems to suggest neural analogies. Inceptionism proposes a direct link between visual learning and image construction. Specifically that image and pattern recognition mechanisms can be/are deployed for visual creativity. What is exciting to me about this is further 'evidence' for the destabilisation of rhetorics of 'higher faculties' in the brain, and support for ideas like those proposed by Lakoff and Gallese in their 'where do concepts come from' in which they argue that concepts arise directly from sensorimotor circuits. This is somewhat akin also to mirror neuron research which indicates a direct, non-conscious link between vision and motor circuits which implement 'learning' without higher reasoning. (This ideas links this thread with the current 'analogy and thinking' thread).
The research also suggests neural mechanisms for some of the ideas of gestalt psychology.
It also has implications for pedagogy in the sense that aspects of  traditional pedagogies of practice seem vindicated.
I'm interested to hear various perspectives.
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Yes this is indeed very exciting - it looks to me like a very good frontrunner for a computational explanation for the 'form constants' experienced under functionally selective 5-HT agonists, or psychedelics. It also does put a fairly convincing refresh on the case for gestalt psychology, and Helmholtzian 'Unconscious inference' even more so.
The only substantial work I have encountered/understand in any depth in this area is some of Allan Hobson's, which might be worth a consideration. In his theoretical perspective, these computational systems form a substrate from which all conscious visual perception arise, and are ontogenically developed in utero to ensure that newborn humans can rapidly adapt to the task of waking perception with minimal delay.
According to this theory, this same system of unconscious inference is revisited nightly, for goal-directed maintenance and evolution of its behaviour - and we experience this phenomenally as REM sleep. Thus dreaming can be conceptualised as the process by which such adaptations are tested and played out in the absence of veridical retinal input, in a kind of integrated rehearsal/failsafe mechanism.
What does this have to say about the imagination? Presuming that the visual imagination and the dreaming experience of REM sleep depend upon a common physiological structure or mechanism, which does stand to reason, it potentially demonstrates that very small degrees of top down influence over the visual cortex may be sufficient to produce vivid internally generated mental imagery, provided such automated inference can be similarly activated too.
Likewise, it suggests that since such automated/unconscious inference is integral to normal waking perception - its role in imagination could imply that what we assume to perceive veridical may be modulated and influenced by our higher cortical systems to a considerable extent, in contradiction to our intuitions on the veridicity of visual perception in general.
For specific psychobiological/phenomenal explanations for how this theory works, you might want to read "The Dream Drugstore", linked below. For a computational explanation you might want to check out some of Karl Friston's work, also linked.
Hope that's all useful :)
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Hi,
I need to plot a graph showing the anatomical architecture of the cerebellum (from Granular layer to molecular layer with different types of cells at its own specific layer). Is there any software package I can use to help me creating this image? Any suggestions will be appreciated. Thank you very much in advance. 
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Schematic figures. I found http://www.motifolio.com/mfbiobundle.html yesterday. They provides drawing toolkit for Neuroscience plot in ppt format. I think the toolkit is better for someone like me who doesn't have too much expertise in photoshop ^^.  
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How can this be indicated or proved? I came to the conclusion that synchronicities and special coincidences had something to do with activities in the region of art by those who use art as a vehicle for research in the domain of neuroscience and psychology.
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I don' know if art influences life on a quantum level but I feel it goes backwards and forwards. I use my research into quantum mechanics to inform my sculptural practice, thereby in a visual sense transmitting that information to the observer. Here is an image of a recent work,
Letting Go, fibre optics, LEDs, glass, mirror, steel. 2400 x 810 x 910
you may like to see more of my work at my website- http://www.weddingmarchioro.net  
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How do we perceive a picture (painting, drawing, photography, etc) as a meaningful whole and as being "art", a three dimensional reality and not simply as two dimensional images or sub-parts of images?
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Here is a study which gives some answers about emotion perception in art context and non-art context :
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M Leuven (Belgium) is planning a new pseudo-permanent presentation of its collections. We are thinking of a 5-year research project in order to use our presentations as a lab to measure the interaction between public and visual works of art (old masters! What are the possibilities and pitfalls? What can be interesting (see: with practical museological results) research topics?
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This is a very good idea - and I think it extends work related to 'inside-out' and 'science in the making' in for example Deutsches Museum ( see Morgan Meyers work on this). We have used the concept of experimental zones, as a explorative space in the real setting of the museum. Here both museum practices and visitor practices related to changing conditions have been explored. you can find some papers on this work on my RG page.
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I am looking for journals to cite on the POSITIVE EFFECTS of music on any of these broad areas: brain development, coordination, spatial IQ, cognitive IQ, overcoming learning disabilities, overcoming neurological delays, increased chances of going to college. It is fine if the source is a recent or old journal. Please provide links, thanks.
(When I looked in RG, there was one, but it's still at an accepted article stage.)
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Music is present in all cultures since prehistoric times, but still it is not clear what the source of gratification that we feel listening. Two newly published studies now contribute to shed light on the brain mechanisms involved in the joy of music.
As you can read in "Science", Valorie N. Salimpoor and colleagues at the Montreal Neurological Institute of McGill University have analyzed the neural processes of volunteers who listened to the first few songs. To give way to the experimenters to assess the degree of pleasure evoked by the music, the subjects participated in a kind of auction in which they could make an offer to listen to a particular song.
"Viewing the activity of a particular brain area, the nucleus accumbens, which is involved in reward, it was possible to reliably predict whether subjects would have offered money to listen to a song," says Salimpoor. The involvement of the nucleus accumbens confirms recent indications of the fact that the emotional effect of music would activate mechanisms of expectation and anticipation of a stimulus desirable, mediated by the neurotransmitter dopamine when it comes to a song already familiar, the mechanism of leave would be evoked mental anticipation of the passages most enjoyable. In the search for Salimpoor colleagues, however, the music was not known, but functional magnetic resonance imaging showed that the activated areas and dopaminergic mediation were the same as those of well-known songs. The cause, according to the researchers, is an "implicit knowledge" of music, obtained over the years and internalize the structure of the music characteristic of a certain culture.
The activity of the nucleus accumbens, also, is not isolated, but also involves the auditory cortex, which stores information on the sounds and the music during the test, as the piece was rewarding, the more intense was the cross-communication between the different brain regions. This result supports the idea that the ability to appreciate music refers not only to the emotional aspects, but also on assessments of cognitive character.
Still on the subject of brain reactions to music, Vinod Menon and colleagues at Stanford University School of Medicine, authors of an article published in the "European Journal of Neuroscience," have shown that listening to classical music evokes a unique pattern of activation of areas of the brain in spite of the differences between people.
The team recorded the activation of different brain regions of volunteers who listened to the music of William Boyce, an English composer of the eighteenth century, or pieces of "pseudo-music", ie sequences of auditory stimuli obtained by altering the songs Boyce with appropriate algorithms by the computer. The reaserchers identified a distributed network of brain structures whose activity levels followed a similar pattern in all subjects while listening to music, but not in that of the pseudo-music.
"In our study we have shown for the first time that, despite individual differences, classical music evokes in subjects other than one very consistent pattern of activity in various structures of the frontoparietal cortex, including those involved in the planning of movement, memory and attention, "says Menon. These regions, in particular, participated each with its own activation rate to the development of what was being heard, helping to make sense, with its own specific contribution to the overall structure of the music.
Particularly curious is the preferential activation of the centers of motor planning in response to the music but not the pseudo-music: according to the authors, it is a "neural correlate" of the spontaneous tendency to accompany listening to music with body movements, as in the dance, or simply clapping his hands.
I red with particular interest these two papers which well summarize the mucic/brain interaction. And let me understand what is happening when I am listening to a favourite music. I do not know whether similar mechanisms are activated when I enjoy to  write, play and sing my songs. Many of you know that this is one of my hobbies.
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Neuroscience has had an interest in the creation and reception of fine art (painting, drawing, sculpture, printmaking) for the last two decades. I am interested whether neuroscience also has in interest in art education? If there is an interest, how is this interest shown? What are the questions asked, answers found and what are the major publications in this area?
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No, but I'm working on it! Meanwhile I can share a list of artists who use neurocientific, neuroaesthetic, and related studies in their work. (I have posted this before too, but it has grown a bit as additional artists have come to my attention.)
Anker, Suzanne
undated Suzanne Anker (http://www.suzanneanker.com/, access: April 12, 2014).
Carnie, Andrew
undated Science and art: art and science, a blog about the work of British artist Andrew Carnie (http://scienceandart--andrew-carnie.blogspot.mx/, access: April 13, 2014).
Cook, Lia
2014 Lia Cook, New work – neuroscience research (http://www.liacook.com/works/new-work-neuroscience-research/, access: March 20, 2014).
Grey, Michael Joaquin
undated Citroid (http://www.citroid.com/, access: April 13, 2014).
Jupe, John
2014a “The experiential ontology” , in ResearchGate (https://www.researchgate.net/publication/261330496_The_Experiential_Ontology_(2014)?ev=prf_pub, updated: June 5, 2014, access: June 12, 2014).
2014b “Having the courage of your perceptions”, in ResearchGate (https://www.researchgate.net/publication/261329577_Having_the_Courage_of_your_Perceptions_(2014), updated: May 20, 2014, access: June 12, 2014).
2014c “Replicating our understandings of vision in images 2014C”, in ResearchGate (https://www.researchgate.net/publication/261324364_Replicating_our_understandings_of_vision_in_images_2014C?ev=prf_pub, updated: May 31, 2014, access: June 12, 2014).
2014d “A theoretical proposition for retinal detection of a field potential unfolding from the light array to form the basis of spatial and orientation awareness within the phenomenon of vision”, in ResearchGate (https://www.researchgate.net/publication/261324547_A_theoretical_proposition_for_retinal_detection_of_a_field_potential_unfolding_from_the_light_array_to_form_the_basis_of_spatial_and_orientation_awareness_within_the_phenomenon_of_vision?ev=prf_pub, updated: June 5, 2014, access: June 12, 2014).
2014e  “Vision-Space (sap_0018)”, in ResearchGate (https://www.researchgate.net/publication/259532837_Vision-Space_(sap_0018)?ev=prf_pub, updated: May 15, 2014, access: July 23, 2014).
undated a     “Artworks”, in Perceptual Awareness Center (http://www.pacentre.org/index.php, access: April 13, 2014).
undated b “John Jupe”, in ResearchGate (https://www.researchgate.net/profile/John_Jupe4/?ev=brs_highl, access: April 12, 2014).
undated c  “John Jupe”, in YouTube (https://www.youtube.com/channel/UC_MY0SMr-sgXHG0Sj0hXXbg, access: June 12, 2014).
Moura, Leonel
undated A new kind of art (http://www.leonelmoura.com/, access: April 13, 2014).
Pondick, Rona
undated Ronda Pondick (http://www.ronapondick.com/home.html, access: April 13, 2014).
Sperber, Devorah
2014 devorahsperber.com (http://www.devorahsperber.com/, updated: March 7, 2014, access: July 24, 2014).
Turrell, James
2014 James Turrell (http://jamesturrell.com/, updated: 2014, access: April 13, 2014).
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Arnheim wrote extensively on psychology and art. I would be really interested to hear what people on Researchgate think about his work now as his writing is getting to be rather old? How well do you think this has stood up to the test of time?
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Paul: I have had the same question in my head for the last few months. I recently added two of Arnheim's books to my library (having read them nearly forty years ago as an undergrad art student) together with a selection of recent texts on neuroscience. I am afraid I have about a year of reading and teaching to do before I can attempt an answer to your question. Meanwhile I shall read any answers that appear here with great interest.
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Cultural transmission in animals is well accepted, but what about art produced by wildlife? Do animals produce art?
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If you enter 'animal art' in Google Scholar, you end up with more than 3 million hits!
One example mentioning animal art in the title of a scientific publication is indicated below:
Jared Diamond. 1986. Animal art: Variation in bower decorating style among male
bowerbirds Amblyornis inornatus. Proc. Nati. Acad. Sci. USA Vol. 83, pp. 3042-3046, May 1986