Dreaming and Neuroesthetics

Barcaro, Umberto; Paoli, Marco

doi:10.3389/fnhum.2015.00348

Cited by 4 publications

(3 citation statements)

References 62 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…The paper mainly focused on creative problem-solving, but since the model is more generic it should also be able to model other scenarios for idea generation or insight, like for creating art; e.g., (Barcaro & Paoli, 2015). All in all, the current model serves as a good foundation for future studies.…”

Section: Discussionmentioning

confidence: 99%

A second-order adaptive mental network model relating dreaming to creativity

Budding

Doornkamp

Treur

2023

Cognitive Systems Research

View full text Add to dashboard Cite

Section: Discussionmentioning

confidence: 99%

A second-order adaptive mental network model relating dreaming to creativity

Budding

Doornkamp

Treur

2023

Cognitive Systems Research

View full text Add to dashboard Cite

“…In Lucretius’s lines, an indirect reference to dreams primes a dream-like poetical pattern. Indeed, the esthetic role of latent, often unconscious, references to dreams can often be observed: for instance, this phenomenon is significant in paintings by Giorgione, Leonardo da Vinci, Vermeer, and Millais (Barcaro & Paoli, 2015).…”

Section: Examples Of Different Forms Of Close Relationship Between Ob...mentioning

confidence: 99%

A reflection on Ernest Hartmann’s equation between the central image in dreams and the objective correlative in poetry.

Barcaro¹

2023

Dreaming

Self Cite

View full text Add to dashboard Cite

Ernest Hartmann observed a close similarity between the central image in dreams (an image that can effectively represent the emotional content of a dream) and the objective correlative (defined by T.S. Eliot as "a set of objects, a situation, a chain of events which shall be the formula of that particular emotion"). This article argues that Hartmann's equation between central image and objective correlative is amply valid and can shed new light on the relationship between the esthetic experience and the dreaming experience. For this purpose, 3 points are underlined. First, the objective correlative is characterized by its multifaceted dream-like basis. Second, in light of the central role that Eliot attributed to the Italian medieval poets of the "Dolce Stil Nuovo," the historical significance of a dream reported by Dante is discussed. Third, Hartmann's equation can assume different aspects, especially regarding the either explicit or implicit (or partly implicit) relationship between objective correlative and dreaming. Among the numerous instances offered by cultures that are widely separated by space and time, the article considers examples taken from T.S. Eliot's "Ash Wednesday", Guido Cavalcanti's Sonnet XVIII, Dante's "Vita Nova", the Book of Genesis, Lucretius's "De Rerum Natura", a waka on the theme "Spring" by Fujiwara no Teika, and the lyrics of a song by Franco Battiato. The validity of Hartmann's equation suggests that the reference to dreaming, being common to both the art creator and the art receiver, plays a latent but basic role in the esthetic experience.

show abstract

“…Freud gives a relevant role also to the plastic expression in the process of displacement of psychic material within dreams (Freud, 2004). Moreover, the plastic dimension is essential to oniric representation, as defends the neuresthetical movement (Barcaro & Paoli, 2015).…”

Section: Memories Of Dreamsmentioning

confidence: 99%

Methodological Approach for the Analysis of Artistic Creativity through First-Person Analysis

d’Argyll¹

2019

ASSC

View full text Add to dashboard Cite

Can the study of a single subject by means of a first-person analysis be considered from a scientific methodological approach? The response from neurophenomenology is yes. The recent science of consciousness led by Francisco Varela claims the need to use first-person data, subjective-experiential reports to link them with neurobiological correlates of classically scientific third-person data. I address here a systematic disciplined methodology to translate first-person analysis to the field of art creativity to be performed by the own artist/subject. The goal is to formulate a methodology to be further validated and standardized by other artists willing to perform an introspective analysis, in what can be considered open to "intersubjective validation" in terms of Varela. First-person analysis by the artist herself might reciprocally offer the basis for scientific understanding of the neural processes involved in the synthesis of a creative artwork. Finally, better understanding in the mechanisms involved in inspiration, synthesis and execution of art-work may also help an artist to enhance his/her creative abilities.

show abstract

Dreaming and Neuroesthetics

Cited by 4 publications

References 62 publications

A second-order adaptive mental network model relating dreaming to creativity

A second-order adaptive mental network model relating dreaming to creativity

A reflection on Ernest Hartmann’s equation between the central image in dreams and the objective correlative in poetry.

Methodological Approach for the Analysis of Artistic Creativity through First-Person Analysis

Contact Info

Product

Resources

About