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Art, Mind and Brain: A Cognitive Approach to Creativity
In a provocative discussion of the sources of human creativity, Gardner explores all aspects of the subject, from the young child's ability to learn a new song through Mozart's conceiving a complete symphony.
400 pages, Paperback
First published December 7, 1982
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444 people want to read
About the author
Howard Gardner
140 books662 followersHoward Gardner is the John H. and Elisabeth A. Hobbs Professor of Cognition and Education at the Harvard Graduate School of Education. He also holds positions as Adjunct Professor of Psychology at Harvard University and Senior Director of Harvard Project Zero. Among numerous honors, Gardner received a MacArthur Prize Fellowship in 1981. He has received honorary degrees from 26 colleges and universities, including institutions in Bulgaria, Chile, Greece, Ireland, Israel, Italy, and South Korea. In 2005 and again in 2008, he was selected by Foreign Policy and Prospect magazines as one of the 100 most influential public intellectuals in the world. The author of 25 books translated into 28 languages, and several hundred articles, Gardner is best known in educational circles for his theory of multiple intelligences, a critique of the notion that there exists but a single human intelligence that can be adequately assessed by standard psychometric instruments.
During the past two decades, Gardner and colleagues at Project Zero have been involved in the design of performance-based assessments; education for understanding; the use of multiple intelligences to achieve more personalized curriculum, instruction, and pedagogy; and the quality of interdisciplinary efforts in education. Since the middle 1990s, in collaboration with psychologist Mihaly Csikszentmihalyi and William Damon, Gardner has directed the GoodWork Project-- a study of work that is excellent, engaging, and ethical. More recently, with long time Project Zero colleagues Lynn Barendsen and Wendy Fischman, he has conducted reflection sessions designed to enhance the understanding and incidence of good work among young people. With Carrie James and other colleagues at Project Zero, he is also investigating the nature of trust in contemporary society and ethical dimensions entailed in the use of the new digital media. Among new research undertakings are a study of effective collaboration among non-profit institutions in education and a study of conceptions of quality, nationally and internationally, in the contemporary era. In 2008 he delivered a set of three lectures at New York's Museum of Modern Art on the topic "The True, The Beautiful, and The Good: econsiderations in a post-modern, digital era."
from http://www.howardgardner.com/bio/bio....
During the past two decades, Gardner and colleagues at Project Zero have been involved in the design of performance-based assessments; education for understanding; the use of multiple intelligences to achieve more personalized curriculum, instruction, and pedagogy; and the quality of interdisciplinary efforts in education. Since the middle 1990s, in collaboration with psychologist Mihaly Csikszentmihalyi and William Damon, Gardner has directed the GoodWork Project-- a study of work that is excellent, engaging, and ethical. More recently, with long time Project Zero colleagues Lynn Barendsen and Wendy Fischman, he has conducted reflection sessions designed to enhance the understanding and incidence of good work among young people. With Carrie James and other colleagues at Project Zero, he is also investigating the nature of trust in contemporary society and ethical dimensions entailed in the use of the new digital media. Among new research undertakings are a study of effective collaboration among non-profit institutions in education and a study of conceptions of quality, nationally and internationally, in the contemporary era. In 2008 he delivered a set of three lectures at New York's Museum of Modern Art on the topic "The True, The Beautiful, and The Good: econsiderations in a post-modern, digital era."
from http://www.howardgardner.com/bio/bio....
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Displaying 1 - 8 of 8 reviews
May 2, 2020
No me apasionan los ensayos y por eso no le pongo más puntuación, pero es un libro muy interesante y bastante más ameno de lo que esperaba.
Lo he flipado con el capítulo en el que explica por qué desde el Renacimiento el arte ha tendido a hacerse cada vez más realista. También me han encantado los capítulos sobre pacientes de lesiones cerebrales, que prueban que las habilidades artísticas son independientes entre sí (de modos que es posible que un paciente pierda la capacidad de hablar pero mantenga la de escribir música, o no sea capaz de leer pero sí de escribir). También me ha encantado conocer mejor, con ejemplos muy curiosos, cómo funciona la creatividad infantil. Me gusta que este señor se interese por estos temas. He aprendido mucho leyéndolo (y esto apenas se menciona en el libro, pero la teoría de las inteligencias múltiples mola mucho).
Se agradece que, a pesar de hablar de ciencia, no peque de cientificismo y valore otros ámbitos del saber. Como aspecto negativo resaltaría que, dado que el libro fue escrito en los 80 y la ciencia y la tecnología han avanzado bastante desde entonces, está un poquito desfasado.
En cualquier caso, recomendable para cualquier persona interesada en el funcionamiento de la creación artística desde una perspectiva psicológica. Es un libro muy comprensible en general, incluso si no tienes muchas nociones en psicología o neurociencia.
Lo he flipado con el capítulo en el que explica por qué desde el Renacimiento el arte ha tendido a hacerse cada vez más realista. También me han encantado los capítulos sobre pacientes de lesiones cerebrales, que prueban que las habilidades artísticas son independientes entre sí (de modos que es posible que un paciente pierda la capacidad de hablar pero mantenga la de escribir música, o no sea capaz de leer pero sí de escribir). También me ha encantado conocer mejor, con ejemplos muy curiosos, cómo funciona la creatividad infantil. Me gusta que este señor se interese por estos temas. He aprendido mucho leyéndolo (y esto apenas se menciona en el libro, pero la teoría de las inteligencias múltiples mola mucho).
Se agradece que, a pesar de hablar de ciencia, no peque de cientificismo y valore otros ámbitos del saber. Como aspecto negativo resaltaría que, dado que el libro fue escrito en los 80 y la ciencia y la tecnología han avanzado bastante desde entonces, está un poquito desfasado.
En cualquier caso, recomendable para cualquier persona interesada en el funcionamiento de la creación artística desde una perspectiva psicológica. Es un libro muy comprensible en general, incluso si no tienes muchas nociones en psicología o neurociencia.
September 24, 2019
Another extremely dated text (for instance, the chapters addressing television at the end as a new concept) that you might as well skip. The only useful element for my research was learning who Cassier was, who apparently theorized about constructivism, but has not popped up until now in my inquiry.
June 17, 2007
Son una serie de ensayos alrededor de la psicología cognitiva. La primera parte habla sobre los maestros fundadores de esta disciplina, de gente como Jean Piaget, Noam Chomsky, Lévi-Strauss, etcétera, mientras que "de pasadita" hace una introducción a esta escuela psicológica. Esta parte la disfruté mucho descubriendo la forma cómo esta disciplina entienende el funcionamiento del cerebro, en base del uso de estructuras simbólicas. Me pareció fascinante.
La segunda parte habla sobre el desarrollo artístico en los niños. El autor hace una revisión de sus investigaciones acerca de la evolución artística de un niño en diversas áreas, pero en especial en la pintura. Aqui el autor trata de trazar el desarrollo de los sistemas simbólicos en los niños. Esta sección es muy interesante también, sobre todo en tratar de enfocar la difícil filosofía estética, como un problema cognitivo. También me resultó bastante esclarecedor y hasta inspirador la forma en cómo aborda al mundo infantil. El adulto debe amoldarse a la visión infantil para guiarlo en el mundo, y no forzarlo al "molde" de los adultos. Además, claro, del desarrollo creativo y artístico en los infantes.
La tercera parte fue sobre la educación y los medios de comunicación. Esta parte me resultó aburrida y difícil de avanzar. En parte por las circunstancias en las que me encontraba mientras lo leía, y también en parte porque el autor se puso a contradecir mi persepción/prejuicio sobre la televisión.
La cuarta parte trató el problema del deterioro de la mente: las consecuencias del daño cerebral y como estas desgracias personales han ayudado a los científicos a intuir los mecanismos del cerebro. Aunque deja bien claro que todo no es algo más que intuiciones, pero que se percibe una clara tendencia estadística en las consecuencias de dichos males que indican una fuerte evidencia de cosas como la lateralización del cerebro, el uso del lenguaje, y la expresiones artísticas que tanto preocupan al autor.
La última parte, que me entusiasmaba mucho, pero me dejó más bien decepcionado,versa de sobre las cúspides de la creatividad, limitándose básicamente a una meditación sobre el método de trabajo de Mozart.
La segunda parte habla sobre el desarrollo artístico en los niños. El autor hace una revisión de sus investigaciones acerca de la evolución artística de un niño en diversas áreas, pero en especial en la pintura. Aqui el autor trata de trazar el desarrollo de los sistemas simbólicos en los niños. Esta sección es muy interesante también, sobre todo en tratar de enfocar la difícil filosofía estética, como un problema cognitivo. También me resultó bastante esclarecedor y hasta inspirador la forma en cómo aborda al mundo infantil. El adulto debe amoldarse a la visión infantil para guiarlo en el mundo, y no forzarlo al "molde" de los adultos. Además, claro, del desarrollo creativo y artístico en los infantes.
La tercera parte fue sobre la educación y los medios de comunicación. Esta parte me resultó aburrida y difícil de avanzar. En parte por las circunstancias en las que me encontraba mientras lo leía, y también en parte porque el autor se puso a contradecir mi persepción/prejuicio sobre la televisión.
La cuarta parte trató el problema del deterioro de la mente: las consecuencias del daño cerebral y como estas desgracias personales han ayudado a los científicos a intuir los mecanismos del cerebro. Aunque deja bien claro que todo no es algo más que intuiciones, pero que se percibe una clara tendencia estadística en las consecuencias de dichos males que indican una fuerte evidencia de cosas como la lateralización del cerebro, el uso del lenguaje, y la expresiones artísticas que tanto preocupan al autor.
La última parte, que me entusiasmaba mucho, pero me dejó más bien decepcionado,versa de sobre las cúspides de la creatividad, limitándose básicamente a una meditación sobre el método de trabajo de Mozart.
November 17, 2016
I find that Gardner, in his eclectic approach to the topic of creativity and the brain, fails to say much coherent or useful. The material overall was to me rather boring, disjointed and at this point hopelessly outdated. The chapters on television and children especially can be tossed on the heap of yesterday's naiveté. The rest, concerning brain research and neurology, is undoubtedly long since surpassed by the work done in the past 30 years.
It's not really Gardner's fault. He writes well and personably, and he shows a genuine enthusiasm for the topics at hand. He is likable, in short. He just tries to do too much in one book. To adequately and coherently express so much passion and do justice to the book's title, he would need several volumes. But he tries to do it all in one. (And the book was written over 30 years ago.)
If I were to recommend this book, I would most for its treatment of human development and the brain/mind. The sections on children and their artwork--trying to get into their heads so to speak--are nice summations of previous research in this area, and most likely important expositions of much work that came afterwards. They also hold some interest for the curious reader.
As turned on as I was by the topic (or really the title...), it took me 38 days to read this book. It put my reading life on a kind of hold. I was determined to go back to it and enjoy it, but it never quite happened for me.
Don't read it. Look for something written more recently.
It's not really Gardner's fault. He writes well and personably, and he shows a genuine enthusiasm for the topics at hand. He is likable, in short. He just tries to do too much in one book. To adequately and coherently express so much passion and do justice to the book's title, he would need several volumes. But he tries to do it all in one. (And the book was written over 30 years ago.)
If I were to recommend this book, I would most for its treatment of human development and the brain/mind. The sections on children and their artwork--trying to get into their heads so to speak--are nice summations of previous research in this area, and most likely important expositions of much work that came afterwards. They also hold some interest for the curious reader.
As turned on as I was by the topic (or really the title...), it took me 38 days to read this book. It put my reading life on a kind of hold. I was determined to go back to it and enjoy it, but it never quite happened for me.
Don't read it. Look for something written more recently.
August 19, 2007
Although some chapters on technology and creativity are a little out date at this point (it was published in 1982), this book offers great insight into children's creative growth. Having known little to nothing about the subject before reading Art Mind and Brain, I now feel that I have a good basic understanding of many of the maters of psychology and how their findings relate to cognitive creativity. The field seems to have received little attention in the past, so many of the "new" theories are just that - theories - and Gardner makes that very clear.
The only art forms noticeably absent from this book are theater and dance. Much of the book is devoted to visual and musical arts, involving distinctly different theories and forms of study. I finished the book wondering what, if anything, he and his team could have learned studying children's aptitude and growth within theater and dance. He spends significant time discussing linguistics, but movement does not seem to be of much interest.
I read the book cover to cover (its sections, for the most part, followed each other in clear succession), but found that I could have read specific chapters separately instead. I plan to use this book for further study having decided that it will be useful for such a thing.
The only art forms noticeably absent from this book are theater and dance. Much of the book is devoted to visual and musical arts, involving distinctly different theories and forms of study. I finished the book wondering what, if anything, he and his team could have learned studying children's aptitude and growth within theater and dance. He spends significant time discussing linguistics, but movement does not seem to be of much interest.
I read the book cover to cover (its sections, for the most part, followed each other in clear succession), but found that I could have read specific chapters separately instead. I plan to use this book for further study having decided that it will be useful for such a thing.
July 18, 2007
An interesting collection of essays about creativity. All of them are really interesting and written in a balanced and thoughtful way.
October 9, 2008
i think this came before multiple intelligneces. it is very interesteing.
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July 29, 2012Excelente. 3era lectura.
Displaying 1 - 8 of 8 reviews