Abstract

The author discusses his idea that an analysis of texture processing can lead to profound coordinations between science and art and to major insights into both. He posits that aesthetic meaning requires greater structure than does scientific meaning, but that style persists without meaning. In strong contrast to some current views in neuroscience, he believes that the visual perception of spatial textures, which happen also to be linguistic, can be shown to involve precisely the same neuropsychological fundamentals as the visual perception of spatial textures that happen to be random and not linguistic.

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