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Are art and science separated by an unbridgeable divide? Can they find common ground? In this new book, neuroscientist Eric R. Kandel, whose remarkable scientific career and deep interest in art give him a unique perspective, demonstrates how science can inform the way we experience a work of art and seek to understand its meaning. Kandel illustrates how reductionism—the distillation of larger scientific or aesthetic concepts into smaller, more tractable components—has been used by scientists and artists alike to pursue their respective truths. He draws on his Nobel Prize-winning work revealing the neurobiological underpinnings of learning and memory in sea slugs to shed light on the complex workings of the mental processes of higher animals. In Reductionism in Art and Brain Science, Kandel shows how this radically reductionist approach, applied to the most complex puzzle of our time—the brain—has been employed by modern artists who distill their subjective world into color, form, and light. Kandel demonstrates through bottom-up sensory and top-down cognitive functions how science can explore the complexities of human perception and help us to perceive, appreciate, and understand great works of art. At the heart of the book is an elegant elucidation of the contribution of reductionism to the evolution of modern art and its role in a monumental shift in artistic perspective. Reductionism steered the transition from figurative art to the first explorations of abstract art reflected in the works of Turner, Monet, Kandinsky, Schoenberg, and Mondrian. Kandel explains how, in the postwar era, Pollock, de Kooning, Rothko, Louis, Turrell, and Flavin used a reductionist approach to arrive at their abstract expressionism and how Katz, Warhol, Close, and Sandback built upon the advances of the New York School to reimagine figurative and minimal art. Featuring captivating drawings of the brain alongside full-color reproductions of modern art masterpieces, this book draws out the common concerns of science and art and how they illuminate each other.
Over the past decade, the integration of psychology and fine art has sparked growing academic interest among researchers of these disciplines. The author, both a psychologist and artist, offers up a unique merger and perspective of these fields. Through the production of fine art, which is directly informed by neuroscientific and optical processes, this volume aims to fill a gap in the literature and understanding of the creation and perception of the grid image created as a work of art. The grid image is employed (for reasons discussed in the text) to illustrate more general processes associated with the integration of vision, visual distortion, and painting. Existing at the intersection of perceptual neuroscience, psychology, fine art and art history, this volume concerns the act of painting and the process of looking. More specifically, the book examines vision and the effects of visual impairment and how these can be interpreted through painting within a theoretical framework of visual neuroscience.
A brilliant book by Nobel Prize winner Eric R. Kandel, The Age of Insight takes us to Vienna 1900, where leaders in science, medicine, and art began a revolution that changed forever how we think about the human mind—our conscious and unconscious thoughts and emotions—and how mind and brain relate to art. At the turn of the century, Vienna was the cultural capital of Europe. Artists and scientists met in glittering salons, where they freely exchanged ideas that led to revolutionary breakthroughs in psychology, brain science, literature, and art. Kandel takes us into the world of Vienna to trace, in rich and rewarding detail, the ideas and advances made then, and their enduring influence today. The Vienna School of Medicine led the way with its realization that truth lies hidden beneath the surface. That principle infused Viennese culture and strongly influenced the other pioneers of Vienna 1900. Sigmund Freud shocked the world with his insights into how our everyday unconscious aggressive and erotic desires are repressed and disguised in symbols, dreams, and behavior. Arthur Schnitzler revealed women’s unconscious sexuality in his novels through his innovative use of the interior monologue. Gustav Klimt, Oscar Kokoschka, and Egon Schiele created startlingly evocative and honest portraits that expressed unconscious lust, desire, anxiety, and the fear of death. Kandel tells the story of how these pioneers—Freud, Schnitzler, Klimt, Kokoschka, and Schiele—inspired by the Vienna School of Medicine, in turn influenced the founders of the Vienna School of Art History to ask pivotal questions such as What does the viewer bring to a work of art? How does the beholder respond to it? These questions prompted new and ongoing discoveries in psychology and brain biology, leading to revelations about how we see and perceive, how we think and feel, and how we respond to and create works of art. Kandel, one of the leading scientific thinkers of our time, places these five innovators in the context of today’s cutting-edge science and gives us a new understanding of the modernist art of Klimt, Kokoschka, and Schiele, as well as the school of thought of Freud and Schnitzler. Reinvigorating the intellectual enquiry that began in Vienna 1900, The Age of Insight is a wonderfully written, superbly researched, and beautifully illustrated book that also provides a foundation for future work in neuroscience and the humanities. It is an extraordinary book from an international leader in neuroscience and intellectual history.
Over the past decade, the integration of psychology and fine art has sparked growing academic interest among researchers of these disciplines. The author, both a psychologist and artist, offers up a unique merger and perspective of these fields. Through the production of fine art, which is directly informed by neuroscientific and optical processes, this volume aims to fill a gap in the literature and understanding of the creation and perception of the grid image created as a work of art. The grid image is employed (for reasons discussed in the text) to illustrate more general processes associated with the integration of vision, visual distortion, and painting. Existing at the intersection of perceptual neuroscience, psychology, fine art and art history, this volume concerns the act of painting and the process of looking. More specifically, the book examines vision and the effects of visual impairment and how these can be interpreted through painting within a theoretical framework of visual neuroscience.
How does the brain piece together the information required to achieve object recognition, figure-ground segmentation, object completion in cases of partial occlusion and related perceptual phenomena? This book focuses on principles of Gestalt psychology and the key issues which surround them, providing an up-to-date survey of the most interesting and highly debated topics in visual neuroscience, perception and object recognition. The volume is divided into three main parts: Gestalt and perceptual organisation, attention aftereffects and illusions, and color vision and art perception. Themes covered in the book include: - a historical review of Gestalt theory and its relevance in modern-day neuroscience - the relationship between perceptive and receptive fields - a critical analysis of spatiotemporal unity of perception - the role of Gestalt principles in perceptual organization - self-organizing properties of the visual field - the role of attention and perceptual grouping in forming non-retinotopic representations - figural distortions following adaptation to spatial patterns - illusory changes of brightness in spatial patterns - the function of motion illusions as a tool to study Gestalt principles in vision - conflicting theories of color vision and the neural basis of it - the role of color in figure-ground segmentation - chromatic assimilation in visual art and perception - the phenomena of colored shadows. Including contributions from experts in the field, this book will provide an essential overview of current research and theory on visual perception and Gestalt. It will be key reading for researchers and academics in the field of visual perception and neuroscience.
Science of art - commentary on Ramachandran and Hirstein - Art and the Brain - The Emergence of Art and Language in the Human Brain - Cave Art, autism, and the evolution of the human mind - On aesthetic perception
Interpreting Visual Art explores the psychological and cognitive mechanisms that underlie one's interpretation of art. After the brain encodes visual information, this encoding is then processed by perceptual mechanisms to identify objects and depth in pictures. The brain incorporates many factors in order for people to "see" the art. Cognitive processes have a major role in how people interpret artworks because attention, memory, and language are also linked to the aesthetic experience. Catherine Weir and Evans Mandes first examine major attributes of aesthetic judgement - balance, symmetry, color, line, and shape - from an empirical point of view as opposed to more philosophical and speculative approaches. Then, they explore the perceptual process, paying special attention to art history in the Western world and emphasizing techniques from cave paintings to modern art. The role beauty and emotions play in our interpretations of pictures have been investigated from many approaches: evolutionary psychology, neuroscience, and appraisal theory. Through the application of empirical research in cognitive science to master works from Botticelli to Pollock, readers are introduced to a research-oriented understanding of how art has been perceived, interpreted, and appreciated in the twenty-first century. This book will appeal to those interested in art as well as those teaching art history, psychology, and neuroscience.
This is the story of a hugely successful and enjoyable 25-year collaboration between two scientists who set out to learn how the brain deals with the signals it receives from the two eyes. Their work opened up a new area of brain research that led to their receiving the Nobel Prize in 1981. The book contains their major papers from 1959 to 1981, each preceded and followed by comments telling how and why the authors went about the study, how the work was received, and what has happened since. It begins with short autobiographies of both men, and describes the state of the field when they started. It is intended not only for neurobiologists, but for anyone interested in how the brain works-biologists, psychologists, philosophers, physicists, historians of science, and students at all levels from high school to graduate level.
This volume on neuroscience, neurology, and the fine arts brings several disciplines together. It presents current thoughts and modern examples about how science, medicine and the arts have interacted in the past and are still converging. This volume specifically explores the history and modern perspective on neurology and neuroscience. - This volume explores the history and modern perspective on neurology and neuroscience
Synthesizing coverage of sensation and reward into a comprehensive systems overview, Neurobiology of Sensation and Reward presents a cutting-edge and multidisciplinary approach to the interplay of sensory and reward processing in the brain. While over the past 70 years these areas have drifted apart, this book makes a case for reuniting sensation a