Hi everyone,

I saw John Onians, who writes below, speak at a conference here in
Australia and was impressed by his work. I didn't want his message to pass
unremarked because there's much underneath that relates to this
discussion.

Onians explores how physical materials are part of the loop between
thought, expression and introspection. For example, the Greeks saw young
men as a barrier between themselves and external warring states, so their
images of young men are made from the same materials as Greek walls and
buildings - marble. Whereas in ancient China, young men were seen as a
resource so their images were made out of the materials associated with
food collection and earth - ceramics.

I am simplifying, but if I understand correctly, Pedro, Sonu and John
intersect at different parts of the same process. I am interested how we
establish causal reasoning in stories. Through the lens of storymaking,
the 'cognits' Pedro speaks of form networks that channel according to the
sorts of principles that Sonu has posted. The symmetry principle includes
a need for introspection, which can manifest in art - structures that seem
to reflect what we know. From my perspective, this means the causal
equivalences formed in the mind are expressed as connections between
fabrics that are seen as equivalent. This would make metaphor a concrete
embodiment of something happening at a cognitive level. And stories too,
which Mark Turner, in cognitive science, says reflects cognitive process.

John notes that testing is needed. Ted Goranson, who also posts to this
list, and myself have been isolating some of of these principles for
application in artificial intelligence. Materials (which we think of as
residue) is included. Like others who have recently posted, this topic
converges on my area of research, so I will follow the discussion with
great interest.

Cheers,

Beth.

> Hi,everyone,
> I  have been listening in and behaving myself till now, taking great
> interest in the discussion of big issues. Now I want to step in because
> with Ramachandran's 'laws' the big issues are coming down to specifics  in
> my area.  For the last fifteen years I have been trying to use
> neuroscience to help understand the history of art and have been delighted
> to discover that neuroscientists are similarly engaged, following a two
> and a half thousand year tradition. Indeed, last year I published a book
> with Yale reviewing that history 'Neuroarthistory. From Aristotle and
> Pliny to Baxandall and Zeki'.  It is fascinating that big thinkers have
> been trying to formulate laws-or at least principles-in this area.  But of
> course nobobody until today had enough knowledge of the brain to explore
> the neurological foundations of those principles.  Now I believe we do,
> and my next two books will endeavour to do that.   One puzzle for me is
> that people in neuroaesthetics tend to disregard neural plasticity which
> to me is an essential tool as I  try to explain why different individuals
> have made art in different ways at different times and in different
> places.   That is why I differentiate my activity, which has much in
> common with neuroaesthetics, as neuroarthistory.  What I am trying to do
> is to formulate principles which explain those differences, using the
> record of all art worldwide from prehistory to the present as experimental
> material.  If you want to find out a bit about this project you can read
> the introductory material to my Atlas of World Art 2004(just reissued in a
> cheaper edition as the Atlas of Art 2008).   I like to think that the
> wealth of data provided by that rich record allows us both to formulate
> and test such principles.  The testing is the essential part.   Whether
> the principles I -and others working in this area-come up with are
> eventually recognised as laws remains to be seen, John
>
>
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