How a Cerebral Hemorrhage Altered My Art

Sherwood, Katherine Darrah

doi:10.3389/fnhum.2012.00055

Cited by 14 publications

(6 citation statements)

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“…Sherwood describes her approach to her work prernorbidly as over-intellectualized (Chatterjee 2008). Post-morbidly, her work has been described as raw and more expressive, and less forced (Sherwood 2012). In concordance with these descriptions, raters found her work following brain injury to be more abstract, more symbolic' more distorted, more vibrant, less realistic, and depicted with looser strokes.…”

Section: Art Productionsupporting

confidence: 52%

“…Her new style is described as "raw" and "intuitive;' with large irregular circular movements. She says her left hand enjoys an ease and a grace with the brush that her right hand never had, and describes it as "unburdened" (Sherwood 2012). Finally, Annoni and colleagues (2004) recently described a Swiss landscape painter whose art was described as being "figurative-impressionist:' He had a small stroke in the left thalamus.…”

Section: Changed Expressivitymentioning

confidence: 99%

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The Neuropsychology of Visual Art

Chatterjee¹

2015

Art, Aesthetics, and the Brain

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Section: Art Productionsupporting

confidence: 52%

Section: Changed Expressivitymentioning

confidence: 99%

The Neuropsychology of Visual Art

Chatterjee¹

2015

Art, Aesthetics, and the Brain

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“…His premorbid images were “highly cerebral,” and incorporated esoteric images of cross‐dressers, medieval seals, and spy photos. In contrast, following his stroke he described his style as “raw” and “intuitive” and his left hand as “unburdened,” enjoying an ease and grace with the brush that his right hand never had . The right‐hemisphere stroke experienced by artist Loring Hughes led to difficulty in coordinating the spatial relationship between lines, forcing her to abandon her premorbid style of realistic depictions.…”

Section: Art Productionmentioning

confidence: 99%

“…In contrast, following his stroke he described his style as "raw" and "intuitive" and his left hand as "unburdened," enjoying an ease and grace with the brush that his right hand never had. 155 The righthemisphere stroke experienced by artist Loring Hughes led to difficulty in coordinating the spatial relationship between lines, forcing her to abandon her premorbid style of realistic depictions. Instead, she relied on her own imagination and emotions for inspiration.…”

Section: Descriptive Neuroaestheticsmentioning

confidence: 99%

Neuroscience of aesthetics

Chatterjee

Vartanian

2016

Ann. N.Y. Acad. Sci.

221

183

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Aesthetic evaluations are appraisals that influence choices in important domains of human activity, including mate selection, consumer behavior, art appreciation, and possibly even moral judgment. The nascent field of neuroaesthetics is advancing our understanding of the role of aesthetic evaluations by examining their biological bases. Here, we conduct a selective review of the literature on neuroaesthetics to demonstrate that aesthetic experiences likely emerge from the interaction between emotion-valuation, sensory-motor, and meaning-knowledge neural systems. This tripartite model can in turn be evoked to explain phenomena central to aesthetics, such as context effects on preferences. Indeed, context-dependent appraisals that focus on objects rather than on outcomes could be an important factor distinguishing aesthetic experiences from other kinds of evaluations.

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“…Such effects have been observed in the visual domain. For example, dementia and cerebral stroke have been shown to alter artistic creativity (Miller et al, 1998;Sherwood, 2012). Changes in low-level image properties have also been observed in the art produced by persons with schizophrenia, (Henemann et al, 2017).…”

Section: Generalization and Future Directionsmentioning

confidence: 99%

Comparative Computational Analysis of Global Structure in Canonical, Non-Canonical and Non-Literary Texts

Mohseni,

Gast,

Redies

2020

Preprint

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This study investigates global properties of literary and non-literary texts. Within the literary texts, a distinction is made between canonical and non-canonical works. The central hypothesis of the study is that the three text types (non-literary, literary/canonical and literary/non-canonical) exhibit systematic differences with respect to structural design features as correlates of aesthetic responses in readers. To investigate these differences, we compiled a corpus containing texts of the three categories of interest, the Jena Textual Aesthetics Corpus. Two aspects of global structure are investigated, variability and self-similar (fractal) patterns, which reflect long-range correlations along texts. We use four types of basic observations, (i) the frequency of POS-tags per sentence, (ii) sentence length, (iii) lexical diversity in chunks of text, and (iv) the distribution of topic probabilities in chunks of texts. These basic observations are grouped into two more general categories, (a) the low-level properties (i) and (ii), which are observed at the level of the sentence (reflecting linguistic decoding), and (b) the high-level properties (iii) and (iv), which are observed at the textual level (reflecting comprehension). The basic observations are transformed into time series, and these time series are subject to multifractal detrended fluctuation analysis (MFDFA), giving rise to three statistics: (i) the degree of fractality, (ii) the fractal dimension (width of the fractal spectrum), and (iii) the degree of asymmetry of the fractal spectrum. Our results show that low-level properties of texts are better discriminators than high-level properties, for the three text types under analysis. Canonical literary texts differ from non-canonical ones primarily in terms of variability. Fractality seems to be a universal feature of text, more pronounced in non-literary than in literary texts. While some of our results are hard to interpret from a literary point of view, we surmise that our findings reflect an important design feature of text, the distribution of discourse modes (Narrative, Report, Description, Information, Argument). Beyond the specific results of the study, we intend to open up new perspectives on the experimental study of textual aesthetics.

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How a Cerebral Hemorrhage Altered My Art

Cited by 14 publications

References 0 publications

The Neuropsychology of Visual Art

The Neuropsychology of Visual Art

Neuroscience of aesthetics

Comparative Computational Analysis of Global Structure in Canonical, Non-Canonical and Non-Literary Texts

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