Scientific use of art in cognitive disorders
$avtor = ""; if(empty($myrow2["author"])) { $avtor=""; } else { $avtor="автор: "; } ?>Artist & Ph.D. in Art Production and Research under the title:
“The abject concept in human body regards art and semiotics”.
Facultad de San Carlos Universidad Politécnica de Valencia, Spain. Directed by Dr. Felipe V. Garín and Dr. Carla Subrizi.
MA European Art Practice, Kingston University, London.
www.amparolatorreromero.com amparometrallas@gmail.com
ABSTRACT: In the field of humanities, the existence of a plurarity of interpretations is an undeniable fact that affects researchers as well as artists and academics. Depending on the objective each of them want to accomplish, different connections and different concepts are used. However, we would like to point out that this objective is set by the researcher. Therefore, in this study we have decided to focus our attention on what is despicable or useful at art for cognitive disorders and its relationship with semiotics. Mainly, we have supported our theories on Julia Kristeva, Semir Zeki, Charles Morris, Juan A. Magariños de Morentin and Michel Foucault’s typologies.
This paper seeks to study the way in which the art is used in cognitive disorders.
The father of modern neuroscience, Santiago Ramón y Cajal had always vocation for the arts, particularly, for the drawing.
The main idea behind the concept of art is that it allows us to cross boundaries and play with the ideas of prohibition and transgression.
Different perspectives may be offered, considering that we can look at it in its historical present context or as part of an evolutionary process that has not finished yet.
As far as semiotics is concerned, we have turned our attention to the textual element in art, given that -especially in postmodernity- the “work of art” is seen as an autonomous entity, in a trend that allows the development of a semiotics of identity. Saussure has proved too the existence of abstract units, grammars ruled by conscious or unconscious associations, like roots, endings, prefixes, suffixes, word families, inflexion paradigms, etc.
The materialization of the language occurs when the subject speaks and is thus confirmed by its use by society. Both semiotics and art share a main feature, which is that they are incessantly evolving.
Keywords: art, semiotics, cognition disorder.
Scientific use of art in cognitive disorders
INTRODUCTION
Normally the artist do not writte down neither about the cognitive nor about the aesthetic processes. There are exceptions such as: Matisse, Kandinsky, Goethe.
Because we should comunicate or narrate with our artwork. But no one as an artist can demystify what the human eye sees.
Inasmach as we start how to learn to draw the masters told us :” Be careful you can not trust your eyes ¡”
At the art university they teach us to see in certain ways: ad esample if you enter into a room you should know exactly where is the maximum light and the maximum shadow.
This process it is not casual the professors teach us how to see and the way to see. Exactly the same with the vanishing points, we should know exactly were is the convergence of the lines.
The drawing is nothing more than a fiction. There are changes of light and plane. But never ever trimmed silhouettes.
We had been teached for to have a concrete vision of the reality, at least in our academic stage of formation.
Not only the artists, Santiago Ramón y Cajal the neuroscientist, said that “every man can be a sculptor of his own brain”.
We are taught to categorize the objects from the general to the particular, to hierarchize forms in the space and to create a fictional clasification: environment, contour, inner contour and of couse related the figure with the space. Everything is linked.
The colours are variable , depending always of the light. Monet had demonstrated this with the sequence of Rouen´s Cathedral.
After that has had been demonstrated that there are differents ways of see, of understand and interpret.
In fact every painter has his personal chromatic palette.
We can not see the ultraviolet rays, Semir Zeki said in 1999 his book “Inner Vision”:
“The visual system of the brain is insensitive with this rays and therefore no artist has ever thought as ultraviolet light represent on the canvas or study the laws of nature in relation to ultraviolet light”.[1]
I strongly desagree with him an artist did it. It is true that it is by a combination of art and technology on the Foucault´s tipology of bio-power, but the artist Beo Beyond, woks with the UV.
Model: Stacy, Costume Design & Photography: Beo Beyond[2]
Another way is the Thermography Infrared thermography (IRT), thermal imaging, and thermal video are examples of infrared imaging science.
We have noticed that authors have used and use techniques converting invisible radiation visibles in order to create artistic images, revealing other visions our world. And they have done through the use of techniques by the scientific research .
For example Richard Lowenberg, Gianiraz Haussman, Attilío Bruno Veratti, Diego Esperon, among others.
Termografia Diego Esperon
About the law of perceptions Gestalt psychologists have studied thoroughly the laws by which stimulus are structured to form the sensations and perceptions.
Specially Rudolph Arnheim in his book Art and perception.
Another aspect that I like to point out is the colour perception.
In the back of the eye there are millions of specialized cells detect wavelengths from our environment. These cells, primarily rods and cones, reflecting the various elements of thespectrum of sunlight and transform it into electrical impulses, which are then sent to the brain via the optic nerves. It is the brain the responsible of the colour perception.
Exam of perception of the colours – Ishihara maps what you see is individual and immutable. [3]
Private perceptual experience. Along with the perception of pain is one of the most subjective perceptual experiences.Definition of colour:Perceptual response to objects and lights that gives them certain qualities, such as red, the green .... "The colour is not a property of the surfaces but a feature of the perceptual response.To define it we use examples "blue is as the sky"
Answering to the question how many colours we see the answer is:
If we increase wavelength until the subject detects the color difference. That are 200 is obtained, but become 2 million varying intensity (brightness) and saturation.
Perceptual physiological capacity vs. representative capacity (cognitive) 2 Million color 7500 colour names
• monochromatism: rare form of color blindness (10 of every million people) have no functional cones, ie show the vision only with batons. White, black and gray. Need for sunlightprotection. • Dichromatism: experience a smaller color range than trichromats. Related to gender (-protanopia, Deuteranopia, tritanopia) -Protanopia: Lack of pigment-long blue-gray waves -Deuteranopia: Lack pigment medium wave, see the same colors but with a different neutral point. -Tritanopia: Rare, is believed to be caused by a lack of pigment shortwave. Blue-red.
What´s the name of this colour?
Yellow
For a painter yellow cadmium medium.
There is also the emotional perception of art, it can move, excite, disturb.
Goethe with his approach to the colour refuted the first scientific approaches of the moment, the Newton´s theories. The study departed from the formal kant´s analysis about “The critique of judgment” and share his research with Shiller.
That Goethe´s research start from 1790 until the end of his life 1832.
Goethe was the first one at study not only the phisiologyc but also the psicologyc. He pointed out the properties of the colours: its sensitive valour, gestaltyc, expresive and autonomous, elements absolutelly importants for the aesthetic.
Art can offer a wide range of icons through its visual semiotics. It provides signs and symbols that will always be open to the spectator’s interpretation, as it is mutable and inapprehensible, with different meanings for each person. If we want to understand this concept, we have to understand its mutability first. The semiotics of art contains and is formed by translinguistics, as well as language. It becomes an appropriation of society and history, and its function is independent and often inconscious, just like
“mnesica” (memories).
Art is always full of intelligence, transgression (there are no limits) and with a polisemic capacity: “The right kind of wrongness” or” the wrong kind of rightness”.
That´s exactly why the patients who soffer cognitive disorders are adviced by their neurologist to do some artistic experience. Because they strongly believe that art can be helpful for their recoveration.
Because of the philosophical nominalist needs, it is called artherapy.
I do not agree with that because every single person or artist have their way to see the world and its reality.
That´s way the art is able to receive and integrate all the persons.
It is a social phenomenon and for that interpretable by the semiotics.
As Juan Magariños de Morentin points out in his great book “La semiótica de los bordes” (we just use a small concept that he explains with humble, because this book is so complex).
Operations and no models in order to approach the semiotics to the explanation of the process, researching in social science from operations not to models.
Aplying the semiotics for explaining the social-cognitive process of the art use.
So I would like to talk about artistic operation in the of Morentin´s tipology:
“Operations do not propose any set of entity prior or configurations between these ideals, but rather from a work mode that does not imply the result that you get to be obtained, left open all possibilities that may turn out to be of their aplication, in this way accomnplish the constructive purpose”[5]
In conclusion we can use art in order to help patients that had lost their identity for use the art identity,
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[1][1] Zeki, Semir, Inner Vision,La Valsa de la Medusa, Madrid,1999.p.21.
[2] [en línea] http://www.beobeyond.com/ (Consulta: 23/7/2014).
The artist Beo Beyond creates fluorescent paints that glow under black light. He is Is working with a new lighting technology with UV LEDs.
[en línea] https://www.flickr.com/.../beobeyond/2535378871/(Consulta: 23/7/2014).
[en línea] https://www.pinterest.com/colourartist/uv-paint//(Consulta: 23/7/2014).
[3] Normal vision you should read 74, Those with deficiencies for the red-green colorblind perception should read 21.
[4] Reseach by: Antonio L. Manzanero, professor of Facultad de Psicología de la Universidad Complutense de Madrid. Spain.
[5] Magariños de Morentín, Juan Ángel. ”La Semiótica de los bordes”, Apuntes de metodología semiótica, Ed. Comunicarte, Lengua y discurso, Argentina,2008.p.156.