Complexity of the Drawing Mind: Cognitive Science of Art - Coursework Example

Complexity of the drawing mind: Cognitive Science of Art Introduction Much of learning, perception, as well as cognition at high levels entail looking for patters in information and data. However, many infinitely patters exist and are match with finite amount of data. It is the responsibility of the cognitive system to select sensible patterns. Traditional fields of study including the philosophy of science, epistemology, computational, and mathematical theories of learning suggest that the basis of explaining data should determine the choice of patterns. This paper undertakes an in-depth analysis of complexity of drawing mind using the phenomenon drawing. The discourse explores the cognitive science of art during the development of its concept. The cognitive apparatuses find particular designs within received data. Perception on the other hand, entails looking for regular shapes in the external environment considering the same from the sensory perspective. Looking for patterns in linguistic aspects is what constitutes language acquisition. Finally, the process of extracting patterns from provided information in the process of forming subsections and inference of casual relations defines the high-level cognition. Analysis The existence of cognitive science for almost its first thirty years involved the study of mental functions including symbolic thought, learning, language acquisition, and learning among many more. The roles under scrutiny constituted the functions where the mind of people resembles the functioning of a computer closely and in many aspects. However, it is clear that since humans created computers, then they are more than computers. This offers the cutting-edge study within the field of cognitive science because it tackles issues that appear mysterious and involving the creative elements of the human mind. The path taken by human beings while thinking provides the fundamental difference that exemplifies the new direction of cognitive science. In understanding the cognitive science of art, this discourse puts into perspective various theories including the theory of conceptual blending and the theory of knowledge and creativity as well. The two contain important concepts applicable in art. Learning and thinking is an element of many metaphors accruing from simple experiences of the human body. The process constitutes putting together the blends to develop a rich structure that builds the mental functioning of people in the present society. The process of thinking is a clear indication of how the indentified blending works, its influences on language bearing in mind that it leads to the development of the same, defines identity, as well as the idea of the subsection. This is in addition to the guidelines applied by people in comprehending the new ideas. In the end, the society has exciting, bold, as well as reachable new ways of the working of the mind preciously in the field of art. Cognitive Principles of Art Scholars believe that grouping, peak shift, and contrast are basic cognitive principles of art forming the foundation for more complex elements of the same. Art does not limit its function as a representational element but broadens to cover among other issues explaining a specific viewpoint, expounding features generated from viewpoints, and highlighting various angles of projections of ideas (Attneave, 1954, p. 189). Through this, art defines its first peak shift principle. The prowess of artists lay in their capacity to re-direct people’s visual attention. They achieve this through effective application of contrast and grouping. Professionals in art posit that less is more and this might appear counterintuitive in many people not conversant with the intrigues of art. However, it is a common phenomenon among artists. Isolation Isolation in cognitive science of art defines the necessity to put aside one visual modality before the artist expounds the signal within the same modality. An outline drawing represents a perfect example of putting this principle to use. An outline drawing is more aesthetically pleasing compared to a simple photograph. The difference appears in the isolation of a single visual modality. Form takes this position to set the differences. Form fits this position since it gives room for the distribution of more attention to the same modality. Scholars posit that obvious constraints exist regarding distribution of attentional resources to many modules of vision. Setting aside one are in work that includes an Indian art or when developing a caricature gives room for the artist to direct attention in an effective way to the single source in the process the artist is able to concentrate on enhancements introduced (Thornhill, & Gangestad, 1999, p. 306). Single areas include depth and form among many more. The field presumes that depth, color, and luminance that constitute visual modalities could be isolated with aim of producing hitherto aesthetic experience. It is not important to have one work of art focusing on one modality instead; allocating higher attention to any kind of modality increases the pleasure within the resultant experience. To demonstrate the power of this feature, artists propose patients suffering from stroke in addition to the child dubbed Nadia an autistic patient with damaged brains. However, Nadia retains her parietal lobes intact. People suffering from stroke and qualify these characteristics are at a risk of sudden development of artistic abilities. In spite of severe mental redundancy, Nadia produces clear drawings miles away from and sophisticated compared to children of the same age (Sober, 1975, p. 66). In explaining this, artists understand that one of the most important functions of the right parietal lobe entails artistic perception. This is in addition to the capacity to distribute the attention of a person in the same area considering the position that almost the rest of the parts of brain do not function. It is easy to carry out tests of the isolation principle of cognitive science art. The isolation principle shares any commons with the peak shift principle. They are however, different in various aspects. First, the peak shift principle entails embellishment of certain visual characteristics. Isolation appears in this context to strengthen the influence of peak shift in a drawing. This happens by isolating one visual modality in the process of exaggerating elements in the same modality. Perceptual Problem-solving The practice of discovering that a noise is in a signal is an achievement. Based on this background, artists derive satisfaction from extracting an image from a noisy embodiment. The picture of dalmation is a credible example in this context. Grouping allows the artist to apply completion as well as other gadgets of visual imagination. Artists have the responsibility of putting together different elements and finding ways to combine incongruent components together (Thornhill, & Gangestad, 1999, p. 312). This offers the explanation behind the beauty of a nude inside a veil compared to the ugliness of a nude body. Hiding the nude in a veil makes the viewer make imaginations concerning the remaining elements of the form. This process the visual system adds to the limbic system and results in a continuous reward to keep motivated. Symmetry The cognitive science of art appreciates that both body and facial expressions symmetry create attractiveness. However, they note that symmetry does not play a bigger role in determining attractiveness as previously held (Tovée, Tasker, & Benson, 2000, p. 198). It deals much more with environmental information covering the biological forms present symmetrical in most cases as well as artifacts developed by people. This makes the essence of symmetry in art more appealing. In combining the functions of contrast, grouping, and perceptual problem solving, a drawing that applies symmetry utilizes the potential of symmetry rewards artists by motivating them to distribute more resources to images that show it. Abhorrence of Coincidence Other scholars refer to abhorrence of coincidence as the generic viewpoint. Close relations are there between the Bayesian deduction machine and visual system of people. Bothe the high and lower levels of vision contain Bayesian models. This means that the visual system will isolate the most likely interpretation of a specific visual input from a variety of most of them. The resulting implications form the basis of developing a different principle of art. The products are that people prefer generic viewpoints besides abhorring coincidence. In this principle, artists appreciate particular violations appeal to the eye because they make use of other related guidelines. Metaphor Metaphor as a principle of art remains controversial within the spheres of art. Some scholars hold that it is not easy to define the position of a metaphor either as a device that facilitates effective communication or a primary cognitive way for encoding issues more economically. Another section of scholars holds onto the second aspect of the variation (Perrett, Burt, Penton-Voak, Lee, Rowland, & Edwards, 1999, p. 301). They point at various paintings that generate an emotional response before the input of the metaphor by the artist. This explains the role of a metaphor as effective in any artwork before the viewer becomes aware of it. Conclusion Art does not limit its function as a representational element but broadens to cover among other issues explaining a specific viewpoint, expounding features generated from viewpoints, and highlighting various angles of projections of ideas. Through this, art defines its first peak shift principle. The prowess of artists lay in their capacity to re-direct people’s visual attention. A selective manifestation of the world and its components of cognition demonstrate the highest creative desires of human reason and entail the epitome of human attainment. The development of humanity continues to tread from primitive and limited to a comprehensive and profound level of comprehension of the value of existence. The path taken by human beings while thinking provides the fundamental difference that exemplifies the new direction of cognitive science. In understanding the cognitive science of art, this discourse puts into perspective various theories including the theory of conceptual blending and the theory of knowledge and creativity as well. The two contain important concepts applicable in art. Learning and thinking is an element of many metaphors accruing from simple experiences of the human body. The speed and degree of cognitive activity continues to increase constantly. The cognitive apparatuses find particular designs within received data. Perception on the other hand, entails looking for regular shapes in the external environment considering the same from the sensory perspective. Looking for patterns in linguistic aspects is what constitutes language acquisition. Bibliography Attneave, F. (1954). Some informational aspects of visual perception. Psychol. Rev. 61, 183–193 Perrett, D.I., Burt, D.M., Penton-Voak, I.S., Lee, K.J., Rowland, D.A. & Edwards R. (1999). Symmetry and human facial attractiveness. Evolution and Human Behavior, 20, 295-307. Sober, E. (1975). Simplicity, Clarendon Press Tovée, M.J., Tasker, K., & Benson, P.J. (2000). Is symmetry a visual cue to attractiveness in the human female body? Evolution and Human Behavior, 21, 191-200. Thornhill, R., & Gangestad, S. W. (1999). Facial attractiveness. Trends in Cognitive Sciences, 3(12), 452-460. Read More