Paul:

I suspect there is more interest among art educators in neuroscience than the other way around. An early example is this classic manual (I am citing the three editions that reside on my bookshelf):

Edwards, Betty

1989 Drawing on the right side of the brain. A course in enhancing creativity and artistic confidence, revised edition. New York: G. P. Putnam’s Sons.

1994 Dibujar con el lado derecho del cerebro. Curso para aumentar la creatividad y la confianza artística. Amelia Brito A., translator. Barcelona: Ediciones Urano.

1999 The new drawing on the right side of the brain. New York: Jeremy P. Tarcher/Putnam.

The neuroscientific content in the latter books is somewhat simplistic, but the method seems to work, in the sense that students learn to tap into certain cognitive and motor functions, related to the perception and representation of forms, in much less time than with other methods. I have used it to teach drawing to undergraduate students.

The most pertinent publication to your question that I have seen is this:

Learning, arts, and the brain, the Dana Consortium report on arts and cognition, organized by Michael S. Gazzaniga. Carolyn Asbury & Barbara Rich, editors. New York/Washington: Dana Press (http://www.dana.org/workarea/downloadasset.aspx?id=88374, access: July 24, 2014).

The link provide full access to the book. You may have seen this already; the link was posted on ResearchGate a few months ago and I have reposted it here and there when subject comes up.

Hopefully your question will elicit responses with more material.

David, many thanks for your posting. Do you know of any material that relates to the application of neuroscience to the design or evaluation of graduate and undergraduate curricula?

No, but I'm working on it! Meanwhile I can share a list of artists who use neurocientific, neuroaesthetic, and related studies in their work. (I have posted this before too, but it has grown a bit as additional artists have come to my attention.)

Anker, Suzanne

undated Suzanne Anker (http://www.suzanneanker.com/, access: April 12, 2014).

Carnie, Andrew

undated Science and art: art and science, a blog about the work of British artist Andrew Carnie (http://scienceandart--andrew-carnie.blogspot.mx/, access: April 13, 2014).

Cook, Lia

2014 Lia Cook, New work – neuroscience research (http://www.liacook.com/works/new-work-neuroscience-research/, access: March 20, 2014).

Grey, Michael Joaquin

undated Citroid (http://www.citroid.com/, access: April 13, 2014).

Jupe, John

2014a “The experiential ontology” , in ResearchGate (https://www.researchgate.net/publication/261330496_The_Experiential_Ontology_(2014)?ev=prf_pub, updated: June 5, 2014, access: June 12, 2014).

2014b “Having the courage of your perceptions”, in ResearchGate (https://www.researchgate.net/publication/261329577_Having_the_Courage_of_your_Perceptions_(2014), updated: May 20, 2014, access: June 12, 2014).

2014c “Replicating our understandings of vision in images 2014C”, in ResearchGate (https://www.researchgate.net/publication/261324364_Replicating_our_understandings_of_vision_in_images_2014C?ev=prf_pub, updated: May 31, 2014, access: June 12, 2014).

2014d “A theoretical proposition for retinal detection of a field potential unfolding from the light array to form the basis of spatial and orientation awareness within the phenomenon of vision”, in ResearchGate (https://www.researchgate.net/publication/261324547_A_theoretical_proposition_for_retinal_detection_of_a_field_potential_unfolding_from_the_light_array_to_form_the_basis_of_spatial_and_orientation_awareness_within_the_phenomenon_of_vision?ev=prf_pub, updated: June 5, 2014, access: June 12, 2014).

2014e  “Vision-Space (sap_0018)”, in ResearchGate (https://www.researchgate.net/publication/259532837_Vision-Space_(sap_0018)?ev=prf_pub, updated: May 15, 2014, access: July 23, 2014).

undated a     “Artworks”, in Perceptual Awareness Center (http://www.pacentre.org/index.php, access: April 13, 2014).

undated b “John Jupe”, in ResearchGate (https://www.researchgate.net/profile/John_Jupe4/?ev=brs_highl, access: April 12, 2014).

undated c  “John Jupe”, in YouTube (https://www.youtube.com/channel/UC_MY0SMr-sgXHG0Sj0hXXbg, access: June 12, 2014).

Moura, Leonel

undated A new kind of art (http://www.leonelmoura.com/, access: April 13, 2014).

Pondick, Rona

undated Ronda Pondick (http://www.ronapondick.com/home.html, access: April 13, 2014).

Sperber, Devorah

2014 devorahsperber.com (http://www.devorahsperber.com/, updated: March 7, 2014, access: July 24, 2014).

Turrell, James

2014 James Turrell (http://jamesturrell.com/, updated: 2014, access: April 13, 2014).

Data The Experiential Ontology (2014)

Data Having the Courage of your Perceptions (2014)

Data Replicating our understandings of vision in images 2014C

Data A theoretical proposition for retinal detection of a field p...

Data Vision-Space (sap_0018)

David, thank you for this comprehensive set of links. Like you perhaps, I am interested in the association between art creation and reception and neuroscience. My recent books address this. I also have 2 more books being published on this topic next year. I am currently deeply engrossed with a colleague in writing a book on tertiary art education and thus my interest in neuroscience. I have not had chance as yet to check out all of the links but I will. In the meantime, if you have further thoughts on art education at the higher levels I'd love to hear them.

You're welcome, Paul. An hour ago I posted something about my students' recent work on another thread. I see you are following it, but I'll paste the link here for Sunil and anybody else that may drop by here.

https://www.researchgate.net/post/Does_anybody_have_experience_with_the_use_of_neuroscientific_research_in_the_teaching_of_visual_arts_production?_tpcectx=home_feed

Thanks David for being thorough.

I had forgotten about your question: "Does anybody have experience with the use of neuroscientific research in the teaching of visual arts production?" and I am going to have to re-read the content of this.

Hello Paul,

Your question is very interesting and maybe a bit ahead of time... Neuroscience is only recently having a better understanding of how neuronal networks structure influence cognition. As an art educator I’m very interested in the field of neuroaesthetics. I believe practical applications for the arts classroom will come from this branch of the sciences.

In my researche I’m interested in the links between neuronal network formation/development, cognitive (learning) styles and the basic elements of art. By now, we can affirm that neuronal network development conditions cognitive style (or learning style). If all goes well, the arts class room may provide teachers with evidence that will help them on their learning styles diagnosis. It is very innovative and exploratory research, but preliminary results indicate that artistic expression may reveal the cognitive style of the creator with great accuracy. Let me know if you would like to further exchange on the subject.  

Dear Paul,

You have absolutely read my mind. In the past few days I´ve been trying to contact people interested in this subject.

I am a peruvian playwright and teacher, currently studying a Master´s in Cognition, Learning and Development. I would very much like to be in contact with people who are interested in the interplay between cognition and performing arts and the interplay between cognition and art education.

I´m just starting to explore the subject. I would be honored and very grateful if you could share your work and information with me. I have come across some pretty interesting stuff too, although you obviously are more advanced in your research. This subject is very new and I´m afraid there´s not many of us looking into it. Would you be interested in joining forces?

Regards,

Claudia Besaccia

(stage name: Claudia Besaccia)

Dear Claudia,

My speciality is visual arts and cognition. I’m not sure if visual arts maybe of any interest to you. However, you will find attached a very extensive literature review on arts, neuroscience and more (by professor Car-Wright).

Hope it helps,

All the best,

Pedro

Our latest findings suggest that color preference (in variation range) is a better indicator of cognitive style, than sex, age or education... the thesis will be published soon, but it is written in French... is it of any interest to you?

Dear Pedro, Yes, this is of interest but unfortunately my French is at a school boy level!

Thanks, Paul

I’ll try a short résumé in English. We tested 22 professional artists and 18 students for ToM (Theory of Mind) and E/B/S (Empathiser/Balanced/Systemiser) model of cognitive styles (Baron-Cohen, 2005) with the RMET (Read in The Mind Eye Test). We requested the participants to provide us a work of visual art from their existing production in (2D) so it could be analysed with a photograph.The latest was analysed by a jurors using basic elements of art, design and modern art (I’m adding a file with these concepts). Our sample was small, but we found that visual artists have exceptional ability to decode emotions (results were very comparable to the ones obtained by Guariglia et al. (2015) which I’m attaching as well). Our most significant result was related to color variation, as artists with higher scores at the RMET (x͂=28.91; sd=1.7) had works of art with higher variation of color (5 colors or more), opposed to the ones with low scores (x͂=26.24; sd=2.9) (4 colors or less). This difference was significant (t(37)=0.40; p

Very interesting book neuroscience and art education ( in german)

Bernhard Balkenhol / Christa Sturm (Hrsg.)

Kunst#quer#Kopf

Kunst und Neurowissenschaften begegnen sich

München 2020

Translation description: „ In the past centuries, the relationship between science and art has been marked by a chequered history. While in the Renaissance a consubstantiality was proclaimed in the exploration of nature through scientific and artistic practice, in the course of and in the aftermath of the 19th century the two fields were separated. For some years now, a change has been taking place with the development of neuroscience. Perception, creativity and creative practice are currently being negotiated again in connection with the arts and neurosciences, and not only in neuroaesthetics. The extent to which the diversity of perspectives - also in their contradictions - is productive and necessary is shown in rudimentary ways. Questions concerning artistic perception, working and thinking as well as education and mediation will be examined transdisciplinarily by scientists and artists from the perspectives of art, neuroscience and education, and new perspectives for mediation will be created.“

Very interesting book neuroscience and art education ( in german)

Bernhard Balkenhol / Christa Sturm (Hrsg.)

Kunst#quer#Kopf

Kunst und Neurowissenschaften begegnen sich

München 2020

Translation description: „ In the past centuries, the relationship between science and art has been marked by a chequered history. While in the Renaissance a consubstantiality was proclaimed in the exploration of nature through scientific and artistic practice, in the course of and in the aftermath of the 19th century the two fields were separated. For some years now, a change has been taking place with the development of neuroscience. Perception, creativity and creative practice are currently being negotiated again in connection with the arts and neurosciences, and not only in neuroaesthetics. The extent to which the diversity of perspectives - also in their contradictions - is productive and necessary is shown in rudimentary ways. Questions concerning artistic perception, working and thinking as well as education and mediation will be examined transdisciplinarily by scientists and artists from the perspectives of art, neuroscience and education, and new perspectives for mediation will be created.“

Very interesting book neuroscience and art education ( in german)

Bernhard Balkenhol / Christa Sturm (Hrsg.)

Kunst#quer#Kopf

Kunst und Neurowissenschaften begegnen sich

München 2020

Translation description: „ In the past centuries, the relationship between science and art has been marked by a chequered history. While in the Renaissance a consubstantiality was proclaimed in the exploration of nature through scientific and artistic practice, in the course of and in the aftermath of the 19th century the two fields were separated. For some years now, a change has been taking place with the development of neuroscience. Perception, creativity and creative practice are currently being negotiated again in connection with the arts and neurosciences, and not only in neuroaesthetics. The extent to which the diversity of perspectives - also in their contradictions - is productive and necessary is shown in rudimentary ways. Questions concerning artistic perception, working and thinking as well as education and mediation will be examined transdisciplinarily by scientists and artists from the perspectives of art, neuroscience and education, and new perspectives for mediation will be created.“

Very interesting book neuroscience and art education ( in german)

Bernhard Balkenhol / Christa Sturm (Hrsg.)

Kunst#quer#Kopf

Kunst und Neurowissenschaften begegnen sich

München 2020

Translation description: „ In the past centuries, the relationship between science and art has been marked by a chequered history. While in the Renaissance a consubstantiality was proclaimed in the exploration of nature through scientific and artistic practice, in the course of and in the aftermath of the 19th century the two fields were separated. For some years now, a change has been taking place with the development of neuroscience. Perception, creativity and creative practice are currently being negotiated again in connection with the arts and neurosciences, and not only in neuroaesthetics. The extent to which the diversity of perspectives - also in their contradictions - is productive and necessary is shown in rudimentary ways. Questions concerning artistic perception, working and thinking as well as education and mediation will be examined transdisciplinarily by scientists and artists from the perspectives of art, neuroscience and education, and new perspectives for mediation will be created.“

Very interesting book neuroscience and art education ( in german)

Bernhard Balkenhol / Christa Sturm (Hrsg.)

Kunst#quer#Kopf

Kunst und Neurowissenschaften begegnen sich

München 2020

Translation description: „ In the past centuries, the relationship between science and art has been marked by a chequered history. While in the Renaissance a consubstantiality was proclaimed in the exploration of nature through scientific and artistic practice, in the course of and in the aftermath of the 19th century the two fields were separated. For some years now, a change has been taking place with the development of neuroscience. Perception, creativity and creative practice are currently being negotiated again in connection with the arts and neurosciences, and not only in neuroaesthetics. The extent to which the diversity of perspectives - also in their contradictions - is productive and necessary is shown in rudimentary ways. Questions concerning artistic perception, working and thinking as well as education and mediation will be examined transdisciplinarily by scientists and artists from the perspectives of art, neuroscience and education, and new perspectives for mediation will be created.“

Very interesting book neuroscience and art education ( in german)

Bernhard Balkenhol / Christa Sturm (Hrsg.)

Kunst#quer#Kopf

Kunst und Neurowissenschaften begegnen sich

München 2020

Translation description: „ In the past centuries, the relationship between science and art has been marked by a chequered history. While in the Renaissance a consubstantiality was proclaimed in the exploration of nature through scientific and artistic practice, in the course of and in the aftermath of the 19th century the two fields were separated. For some years now, a change has been taking place with the development of neuroscience. Perception, creativity and creative practice are currently being negotiated again in connection with the arts and neurosciences, and not only in neuroaesthetics. The extent to which the diversity of perspectives - also in their contradictions - is productive and necessary is shown in rudimentary ways. Questions concerning artistic perception, working and thinking as well as education and mediation will be examined transdisciplinarily by scientists and artists from the perspectives of art, neuroscience and education, and new perspectives for mediation will be created.“

Very interesting book neuroscience and art education ( in german)

Bernhard Balkenhol / Christa Sturm (Hrsg.)

Kunst#quer#Kopf

Kunst und Neurowissenschaften begegnen sich

München 2020

Translation description: „ In the past centuries, the relationship between science and art has been marked by a chequered history. While in the Renaissance a consubstantiality was proclaimed in the exploration of nature through scientific and artistic practice, in the course of and in the aftermath of the 19th century the two fields were separated. For some years now, a change has been taking place with the development of neuroscience. Perception, creativity and creative practice are currently being negotiated again in connection with the arts and neurosciences, and not only in neuroaesthetics. The extent to which the diversity of perspectives - also in their contradictions - is productive and necessary is shown in rudimentary ways. Questions concerning artistic perception, working and thinking as well as education and mediation will be examined transdisciplinarily by scientists and artists from the perspectives of art, neuroscience and education, and new perspectives for mediation will be created.“

Very interesting book neuroscience and art education ( in german)

Bernhard Balkenhol / Christa Sturm (Hrsg.)

Kunst#quer#Kopf

Kunst und Neurowissenschaften begegnen sich

München 2020

Translation description: „ In the past centuries, the relationship between science and art has been marked by a chequered history. While in the Renaissance a consubstantiality was proclaimed in the exploration of nature through scientific and artistic practice, in the course of and in the aftermath of the 19th century the two fields were separated. For some years now, a change has been taking place with the development of neuroscience. Perception, creativity and creative practice are currently being negotiated again in connection with the arts and neurosciences, and not only in neuroaesthetics. The extent to which the diversity of perspectives - also in their contradictions - is productive and necessary is shown in rudimentary ways. Questions concerning artistic perception, working and thinking as well as education and mediation will be examined transdisciplinarily by scientists and artists from the perspectives of art, neuroscience and education, and new perspectives for mediation will be created.“

Very interesting book neuroscience and art education ( in german)

Bernhard Balkenhol / Christa Sturm (Hrsg.)

Kunst#quer#Kopf

Kunst und Neurowissenschaften begegnen sich

München 2020

Translation description: „ In the past centuries, the relationship between science and art has been marked by a chequered history. While in the Renaissance a consubstantiality was proclaimed in the exploration of nature through scientific and artistic practice, in the course of and in the aftermath of the 19th century the two fields were separated. For some years now, a change has been taking place with the development of neuroscience. Perception, creativity and creative practice are currently being negotiated again in connection with the arts and neurosciences, and not only in neuroaesthetics. The extent to which the diversity of perspectives - also in their contradictions - is productive and necessary is shown in rudimentary ways. Questions concerning artistic perception, working and thinking as well as education and mediation will be examined transdisciplinarily by scientists and artists from the perspectives of art, neuroscience and education, and new perspectives for mediation will be created.“

Very interesting book neuroscience and art education ( in german)

Bernhard Balkenhol / Christa Sturm (Hrsg.)

Kunst#quer#Kopf

Kunst und Neurowissenschaften begegnen sich

München 2020

Translation description: „ In the past centuries, the relationship between science and art has been marked by a chequered history. While in the Renaissance a consubstantiality was proclaimed in the exploration of nature through scientific and artistic practice, in the course of and in the aftermath of the 19th century the two fields were separated. For some years now, a change has been taking place with the development of neuroscience. Perception, creativity and creative practice are currently being negotiated again in connection with the arts and neurosciences, and not only in neuroaesthetics. The extent to which the diversity of perspectives - also in their contradictions - is productive and necessary is shown in rudimentary ways. Questions concerning artistic perception, working and thinking as well as education and mediation will be examined transdisciplinarily by scientists and artists from the perspectives of art, neuroscience and education, and new perspectives for mediation will be created.“