Publication: La neuroestética como autoconocimiento del artista: la introspección como método de análisis de la creación artística
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2018-10-17
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Universidad Complutense de Madrid
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Abstract
Este trabajo es un ensayo que aborda el importante reto que constituye la traslación de la Neurociencia al Arte, hacia una visión innovadora más alineada con la ciencia de nuestro tiempo. El siglo XXI es “el siglo del cerebro”, el gran desconocido, que augura investigaciones novedosas acerca de su funcionamiento. En este contexto, el conocimiento de cómo funciona el cerebro del artista adquiere una importancia inusitada hasta el momento, que abre nuevas posibilidades para el conocimiento de la creación artística.En los últimos veinte años se ha ido desarrollando la ciencia de la conciencia o neurofenomenología, liderada por el neurocientífico Francisco Varela, como respuesta a la limitación de la ciencia para acceder a los procesos mentales,en lo que se denomina el “problema difícil de la conciencia”. Esta reciente disciplina defiende la necesidad de utilizar el análisis en primera persona o etapa inicial del análisis, con datos subjetivos-experienciales como fuente de estudio posterior de los procesos biológicos neuronales. Este último estudio, o segunda etapa del análisis neurofenomenológico, se realizaría según el método científico clásico en tercera persona. Sólo una asociación entre ambos análisis, un análisis inicial en primera persona para la recogida de datos subjetivos e interpretación fenomenológica de nuestros procesos mentales; y un análisis posterior en tercera persona para establecer correlatos neuronales de dichos procesos mediante métodos de neuroimagen, permitirá entender mejor el funcionamiento de la mente...
This work is an essay addressing the important challenge that constitutes the translation of the Neuroscience to the Arts, towards an innovative vision more aligned with the science of our time. The XXI century is "the century ofthe brain", the great unknown, which heralds novel discoveries on its functioning. In this context, the knowledge of how the artist's brain works acquires an unprecedented relevance so far, opening new possibilities for the knowledge of artistic creation. In the last twenty years, the science of consciousness or neurophenomenologyhas been developed, led by the neuroscientist Francisco Varela, in response to the limitation of science to access the mental processes, in what is called the“hard problem of consciousness”. This recent discipline advocates the need touse first-person analysis or first stage of the analysis, with subjective experiential reports as a source of study of neuronal biological processes. The latter study, or second stage of the neurophenomenological analysis, would be performed according to the classical scientific method in the third person perspective. Only an association between both analyses, an initial analysis in first person for the collection of subjective data of our mental processes and their phenomenological interpretation; and a posterior analysis in the third person to establish neural correlates of these processes by neuroimaging methods, will allow a better understanding of the functioning of the mind.Therefore, to the question of whether the study of a single subject by a first person analysis can be considered methodologically scientific, the answer of the neurophenomenology is yes. Neuroesthetics involves the translation of neurophenomenology into the field of art. A number of neuroscientists claims the systematization of methods of experiential analysis in the first person applied to various disciplines...
This work is an essay addressing the important challenge that constitutes the translation of the Neuroscience to the Arts, towards an innovative vision more aligned with the science of our time. The XXI century is "the century ofthe brain", the great unknown, which heralds novel discoveries on its functioning. In this context, the knowledge of how the artist's brain works acquires an unprecedented relevance so far, opening new possibilities for the knowledge of artistic creation. In the last twenty years, the science of consciousness or neurophenomenologyhas been developed, led by the neuroscientist Francisco Varela, in response to the limitation of science to access the mental processes, in what is called the“hard problem of consciousness”. This recent discipline advocates the need touse first-person analysis or first stage of the analysis, with subjective experiential reports as a source of study of neuronal biological processes. The latter study, or second stage of the neurophenomenological analysis, would be performed according to the classical scientific method in the third person perspective. Only an association between both analyses, an initial analysis in first person for the collection of subjective data of our mental processes and their phenomenological interpretation; and a posterior analysis in the third person to establish neural correlates of these processes by neuroimaging methods, will allow a better understanding of the functioning of the mind.Therefore, to the question of whether the study of a single subject by a first person analysis can be considered methodologically scientific, the answer of the neurophenomenology is yes. Neuroesthetics involves the translation of neurophenomenology into the field of art. A number of neuroscientists claims the systematization of methods of experiential analysis in the first person applied to various disciplines...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, leída el 23 de junio de 2017