scholarly journals The Perception of Art as a Higher Mental Function

2017 ◽  
Vol 4 (1) ◽  
pp. 77-79 ◽  
Author(s):  
Dmitry V. Lubovsky
Keyword(s):  
Art Therapy ◽  
Aesthetic Experience ◽  
Cultural Development ◽  
Childhood And Adolescence ◽  
Mental Function ◽  
Mental Functions ◽  
Works Of Art ◽  
Higher Mental Functions ◽  
Genetic Law ◽  
Artistic Images

The concept of higher mental functions applied to the perception of artworks. Considering art as a system of means for mastering of emotions and feelings, the authorshows that this interpsychic system of means for mastering the feelings and emotions through the pro-cessing of aesthetic experience is a conscious, mediated by speech and arbitrary dynamic system of artistic images perception and the processing of aesthetic experience. Perception of artworks becomes arbitrary, if a person realizes the cultural norm of relation to the arts, representing the ability and desire of the viewer to see in the artwork of thoughts and feelings appropriate to the author. The formation of art perception, like any other higher mental functions takes place in accordance with genetic law of cultural development according to which “Every function in the cultural development of the child appears on stage twice” (Vygotsky, 1983, p. 145). The author shows that the perception of art as a higher mental function is formed on the entire life through the perception of works of art and the assimilation of aesthetic experience. The approach to the analysis of perception of works of art proposed by author can find application in di˙erent social practices, from art pedagogy to art therapy; it allows to select the period of development of this function in childhood and adolescence as requiring the greatest attention by teachers and parents. The approach is applicable also in a psychological counseling and art therapy for adolescents and adults.

scholarly journals L.S. Vygotsky’s Ideas in the Clinical Psychology

2020 ◽  
Vol 16 (2) ◽  
pp. 78-88
Author(s):  
A.Sh. Tkhostov
Keyword(s):  
Clinical Psychology ◽  
Dissociative Disorders ◽  
Cultural Socialization ◽  
Mental Function ◽  
Mental Functions ◽  
Voluntary Regulation ◽  
Higher Mental Functions ◽  
Cultural Entity ◽  
And Control

The present article discusses possible perspective trends of the development of the cultural-historical approach in the context of clinical psychology. This puts forward the thesis about the development of man in ontogeny as a result of his interaction with cultural environment which causes the transformation of natural mental functions into higher mental ones and the formation of the whole range of psychopathological abnormalities. It also discusses the voluntary regulation of higher mental functions, the determination of involuntariness and postvoluntariness of functions, the internalization of actions, the differentiation of affect and emotion (incl. as a higher mental function), the “cultural” socialization of non-mental functions (sexual, sleep, excretion) and the inconsistency of natural and “cultural” entity in a human. This paper confirms the statement that the basis of the development of man in ontogenesis is the emergence of subjectness like all the forms of higher activity through the encounter with cultural restrictions and requirements. It suggests extending the concept of “higher” functions by means of including physiological and bodily functions. The latter acquire the characteristics of higher mental functions during the socialization: the voluntary regulation, hierarchical structure and control. This considers the phenomena of alienation, conversion and dissociative disorders and voluntariness as a result of the complication and restructuring of natural functions. It also suggest trends for further investigations.

Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni

2014 ◽  
Author(s):  
Dira Herawati
Keyword(s):  
Social Situation ◽  
Work Of Art ◽  
Social Phenomena ◽  
Aesthetic Object ◽  
Human Foot ◽  
Works Of Art ◽  
The Social ◽  
The Creation ◽  
Art Photography ◽  
Artistic Images

Accountability report is a written description of creative experiences as an artist or a photographer of aesthetic exploration efforts on the image and the idea of a human as a basic stimulant for the creation of works of art photography. Human foot as an aesthetic object is a problem that relates to various phenomena that occur in the social sphere, culture and politics in Indonesia today. Based on these linkages, human feet would be formulated as an image that has a value, and the impression of eating alone in the creation of a work of art photography. Hence the creation of this art photography entitled The Human Foots as Aesthetic Object  Creation of Art Photography. Starting from this background, then the legs as an option object art photography, will be managed creatively and systematically through a phases of creation. The creation phases consist of: (1) the exploration of discourse, (2) artistic exploration, (3) the stage of elaboration photographic, (4) the synthesis phase, and (5) the stage of completion. Methodically, through the phases of the creative process  through which this can then be formulated in various forms of artistic image of a human foot. The various forms of artistic images generated from the foots of its creation process, can be summed up as an object of aesthetic order 160 Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni in the photographic works of art. It is specifically characterized by the formation of ‘imaging the other’ behind the image seen with legs visible, as well as of the various forms of ‘new image’ as a result of an artistic exploration of the common image of legs visible. In general, the whole image of the foot in a photographic work of art has a reflective relationship with the social situation, cultures, and politics that developed in Indonesian society, by value, meaning and impression that it contains.Keywords: human foots, aestheti,; social phenomena, art photography, images

scholarly journals Masculine Performance in Hong Kong Crime Films from Post-Bruce to the 2000s

2017 ◽  
Vol 4 (2) ◽  
pp. 73-82
Author(s):  
Gabriel F. Y. Tsang
Keyword(s):  
Hong Kong ◽  
Film Industry ◽  
Cultural Development ◽  
Action Films ◽  
Crime Films ◽  
Crime Film ◽  
Male Characters ◽  
Bruce Lee ◽  
Chinese Masculinity ◽  
Artistic Images

Masculinity, in Lacan’s sense, is an imagination. To specifically theorise Chinese masculinity, Kam Louie examined the elements of wen (cultural attainment) and wu (martial valour) rendered through historical or artistic images, and Song Geng and Derek Hird guide the discussions about Chinese manhood represented in everyday life. With a Marxist perspective, Lo Kwai Cheung illustrated the dissolvability of Chinese masculinity under international capitalism. With reference to Aristotle, it is supposed that Chinese masculinity, similar to ‘tragicity’ in nature, can be represented through imitating actions and hence be perceived. Based on Aristotle’s understanding, we can regard actions as ‘iterable’ media (like Derrida’s understanding of written texts) which engender performances according to the genealogy of quantitative mimesis. Integrating theoretical discussions with a chronological approach, my full paper will go through following points in order to summarise the changes in Hong Kong crime films from the post-Bruce Lee era to the 2000s: (1) Hong Kong crime film inherited the martial side of masculinity from action films and became a popular genre since A Better Tomorrow was well received in the mid-1980s. (2) Many directors diversified the interpretation of crime in the late 1980s and the 1990s, but remained a focus on the strength, nimbleness and boldness of men. (3) After the decline of Hong Kong film industry for several years, Infernal Affairs’s success renewed the representation of manhood. (4) From the 2000s to now, male characters in crime films are preferably intelligent and wisely-romantic, like the fragile scholar in ancient China. (5) While globalisation seems to be eliminating the Chineseness of Chinese masculinity, I argue that geographical specificity and different speed of cultural development lead to the impossibility of synchronic masculine similarity. (6) Through a brief discussion concerning Hollywood’s adaptation of Hong Kong films, I argue that local masculinity is not transformable.  

scholarly journals Who’s Afraid of the Audience? Digital and Post-Digital Perspectives on Aesthetics

2014 ◽  
Vol 3 (1) ◽  
pp. 120-130 ◽  
Author(s):  
Lotte Philipsen
Keyword(s):  
Immanuel Kant ◽  
Digital Technology ◽  
Aesthetic Experience ◽  
The Other ◽  
Artistic Practice ◽  
Works Of Art ◽  
Practical Analysis ◽  
The Way

This article analyses how works of art that make use of or refer to digital technology can be approached, analysed, and understood aesthetically from two different perspectives. One perspective, which I shall term a ‘digital’ perspective, mainly focuses on poetics (or production) and technology when approach- ing the works, whereas the other, which I shall term a ‘post-digital’ perspective, focuses on aesthetic experience (or reception) when approaching the works. What I tentatively and for the purpose of practical analysis term the ‘digital’ and the ‘post-digital’ perspectives do not designate two different sets of concrete works of art or artistic practice and neither do they describe different periods.[1] Instead, the two perspectives co-exit as different discursive positions that are concretely ex- pressed in the way we talk about aesthetics in relation to art that makes use of and/or refers to digital technology. In short: When I choose here to talk about a digital and a post-digital perspective, I talk about two fundamentally different ways of ascribing aes- thetic meaning to (the same) concrete works of art. By drawing on the ideas of especially Immanuel Kant and Dominic McIver Lopes, it is the overall purposes of this article to ana- lyse and compare how the two perspectives understand the concept of aesthetics and to discuss some of the implications following from these understandings. As it turns out, one of the most significant implications is the role of the audience. 

scholarly journals Aesthetical Quality & Artistic Values of Beauty of Tagore and Seal

2018 ◽  
pp. 50-61
Author(s):  
Md. Mahadi Hassan
Keyword(s):  
Aesthetic Experience ◽  
Philosophy Of Art ◽  
Aesthetic Judgement ◽  
Art Object ◽  
Significant Distinction ◽  
Works Of Art ◽  
Artistic Values ◽  
Aesthetic Judgments

Some separate aesthetics and philosophy of art, claiming that the former is the study of beauty while the latter is the study of works of art. However, most commonly Aesthetics encompasses both questions around beauty as well as questions about art. It examines topics such as aesthetic objects, aesthetic experience, and aesthetic judgments. For some, aesthetics is considered a synonym for the philosophy of art since Hegel, while others insist that there is a significant distinction between these closely related fields. In practice, aesthetic judgement refers to the sensory contemplation or appreciation of an object (not necessarily an art object), while artistic judgement refers to the recognition, appreciation or criticism of art or an art work.

A.R. Luria’s cultural neuropsychology in the 21st century

2019 ◽  
Vol 26 (2) ◽  
pp. 274-286
Author(s):  
Bella Kotik-Friedgut ◽  
Alfredo Ardila
Keyword(s):  
New Media ◽  
21St Century ◽  
Brain Activity ◽  
Point Of View ◽  
Human Cognition ◽  
Cultural Perspective ◽  
Mental Functions ◽  
Clinical Observations ◽  
Cognitive Neurosciences ◽  
Higher Mental Functions

Luria has long been one of the most influential authors in cognitive neurosciences, in particular in neuropsychology. New scientific advances and clinical observations have confirmed many of his proposals and hypotheses. In this paper one of his major ideas is analyzed: the influence of cultural factors on human cognition. The systemic-dynamic Lurian analysis of brain activity is based on Vygotsky's concept of higher mental functions, which are social in origin and complex and dynamic in their structure. Higher mental functions are based on a complex system of operations and means both external and internal. Living conditions and hence cultural characteristics have dramatically changed during the last half century with the development of new media and new virtual ways of communication. Review of contemporary developments supporting the appropriateness and usefulness of these concepts is presented. It is finally concluded that Luria is one of the major founders of contemporary neuropsychology not only from the clinical point of view, but also from the cultural perspective. His influence has continued undiminished during the 21st century.

scholarly journals Cerebral localization of the mind and higher functions The beginnings

2018 ◽  
Vol 12 (3) ◽  
pp. 321-325 ◽  
Author(s):  
Eliasz Engelhardt
Keyword(s):  
Nervous Tissue ◽  
The Body ◽  
Ancient Greek ◽  
Mental Functions ◽  
Long Time ◽  
Cerebral Localization ◽  
Ancient Times ◽  
Higher Mental Functions ◽  
The Mind ◽  
The Brain

Abstract The debates about the mind and its higher functions, and attempts to locate them in the body, have represented a subject of interest of innumerable sages since ancient times. The doubt concerning the part of the body that housed these functions, the heart (cardiocentric doctrine) or the brain (cephalocentric doctrine), drove the search. The Egyptians, millennia ago, held a cardiocentric view. A very long time later, ancient Greek scholars took up the theme anew, but remained undecided between the heart and the brain, a controversy that lasted for centuries. The cephalocentric view prevailed, and a new inquiry ensued about the location of these functions within the brain, the ventricles or the nervous tissue, which also continued for centuries. The latter localization, although initially inaccurate, gained traction. However, it represented only a beginning, as further studies in the centuries that followed revealed more precise definitions and localizations of the higher mental functions.

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