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  1.  28
    Innovation in Art and Science.Amy Ione - 2001 - Trends in Cognitive Sciences 5 (4):140.
  2.  90
    An Inquiry Into Paul Cezanne: The Role of the Artist in Studies of Perception and Consciousness.Amy Ione - 2000 - Journal of Consciousness Studies 7 (8-9):57-74.
    [opening paragraph]: An intriguing element of Paul Cezanne's legacy is that while he aligned his paintings with the classical Renaissance tradition of Western art, his innovative body of work ushered in a decisive break with the standards of that tradition in the twentieth century. The many ways in which Cezanne's representational system deviates from the pluralistic art of the twentieth century suggests that probing his allegiance to classicism offers a unique vantage point for studying visual art, perception, and consciousness. It (...)
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  3.  16
    Nature Exposed to Our Method of Questioning.Amy Ione - 1995 - The Diatrope Press.
    Nature Exposed to our Method of Questioning explores how we create our cultural assumptions about personhood, culture and nature.
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  4.  52
    Las Meninas: Examining Velasquez's Enigmatic Painting.Amy Ione - 2008 - Journal of Consciousness Studies 15 (9):51-57.
    Painted in 1656 by Diego Velasquez (1599-1660), Las Meninas has engendered countless philosophical commentaries. Artists, too, have explored the painting's puzzles and paradoxes. All of the responses to this masterpiece, now over 350 years old, show that Las Meninas continues to live with us on several levels. Indeed, Las Meninas is one of the most controversial paintings of our time (Brown and Garrido, 1998, p. 181); no small feat given that cutting-edge art today is often media-based and/or media-driven. The wealth (...)
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  5.  24
    Examining Semir Zekis Neural Concept Formation and Art: Dante, Michelangelo, Wagner.Amy Ione - 2003 - Journal of Consciousness Studies 10 (2):58-66.
    In his paper, 'Neural Concept Formation and Art: Dante, Michelangelo, Wagner' Semir Zeki writes 'we can trace the origins of art to a fundamental characteristic of the brain, namely its capacity to form concepts' . He proposes that 'this capacity is itself the by-product of an essential characteristic of the brain. That characteristic is abstraction, and is imposed upon the brain by one of its chief functions, namely the acquisition of knowledge.' . Then, centring his argument around 'the ideal of (...)
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  6.  10
    Klee and Kandinsky Polyphonic Painting, Chromatic Chords and Synaesthesia.Amy Ione - 2004 - Journal of Consciousness Studies 11 (3-4):148-158.
    As an artist I admittedly scrutinize all of the theories related to the arts closely. I do this for a number of reasons. The obvious one is that I have a deeply felt personal relationship with the subject matter. Less obvious is my experience in general. My early research was motivated by a desire to discover the historical circumstances that led to the difficulty in fitting visual art into the discussions I encountered. Generally, it seemed that the dominant framework trivialized (...)
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  7.  3
    Connecting the Cerebral Cortex with the Artist's Eyes, Mind and Culture.Amy Ione - 2000 - Journal of Consciousness Studies 7 (8-9):21-27.
    V.S. Ramachandran and William Hirstein's thought-provoking article ‘The science of art: a neurological theory of aesthetic experience’ and the accompanying commentaries raise serious questions about what a science of art is. Unfortunately this short piece will only be able to address them broadly. Overall the problems arise from the exclusion of neurological studies of artists, the exclusion of the artist's experience, and the premises of the theory, which are based on problematic valuations related to aesthetics and spirituality. With these valuations, (...)
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