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The first of its kind, this book examines artistic representations of the brain after the rise of the contemporary neurosciences, examining the interplay of art and science and tackling some of the critical-cultural implications. Weaving an MRI pattern onto a family quilt. Scanning the brain of a philosopher contemplating her own death and hanging it in a museum. Is this art or science or something in-between? What does it mean? How might we respond? In this ground-breaking new book, David R. Gruber explores the seductive and influential position of the neurosciences amid a growing interest in affect and materiality as manifest in artistic representations of the human brain. Contributing to debates surrounding the value and/or purpose of interdisciplinary engagement happening in the neuro-humanities, Gruber emphasizes the need for critical-cultural analysis within the field. Engaging with New Materialism and Affect Theory, the book provides a current and concrete example of the on-going shift away from constructivist lenses, arguing that the influence of relatively new neuroscience methods (EEG, MRI and fMRI) on the visual arts has not yet been fully realised. In fact, the very idea of a brain as it is seen and encountered today—or "The Brain," as Gruber calls it—remains in need of critical, wild and rebellious re-imagination. Illuminating how artistic engagement with the brain is often sensual and suggestive even if rooted in objectivist impulses and tied to scientific realism, this book is ideal for scholars in Art, Media Studies, Sociology, and English departments, as well visual artists and anyone seriously engaging discourses of the brain.
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.
This book analyzes and discusses in detail art therapy, a specific tool used to sustain health in affective developments, rehabilitation, motor skills and cognitive functions. Art therapy is based on the assumption that the process of making art (music, dance, painting) sparks emotions and enhances brain activity. Art therapy is used to encourage personal growth, facilitate particular brain areas or activity patterns, and improve neural connectivity. Treating neurological diseases using artistic strategies offers us a unique option for engaging brain structural networks that enhance the brain’s ability to form new connections. Based on brain plasticity, art therapy has the potential to increase our repertoire for treating neurological diseases. Neural substrates are the basis of complex emotions relative to art experiences, and involve a widespread activation of cognitive and motor systems. Accordingly, art therapy has the capacity to modulate behavior, cognition, attention and movement. In this context, art therapy can offer effective tools for improving general well-being, quality of life and motivation in connection with neurological diseases. The book discusses art therapy as a potential group of techniques for the treatment of neurological disturbances and approaches the relationship between humanistic disciplines and neurology from a holistic perspective, reflecting the growing interest in this interconnection.
How do the arts stack up as a major discipline? What is their effect on the brain, learning, and human development? How might schools best implement and assess an arts program? Eric Jensen answers these questions--and more--in this book. To push for higher standards of learning, many policymakers are eliminating arts programs. To Jensen, that's a mistake. This book presents the definitive case, based on what we know about the brain and learning, for making arts a core part of the basic curriculum and thoughtfully integrating them into every subject. Separate chapters address musical, visual, and kinesthetic arts in ways that reveal their influence on learning. What are the effects of a fully implemented arts program? The evidence points to the following: * Fewer dropouts * Higher attendance * Better team players * An increased love of learning * Greater student dignity * Enhanced creativity * A more prepared citizen for the workplace of tomorrow * Greater cultural awareness as a bonus To Jensen, it's not a matter of choosing, say, the musical arts over the kinesthetic. Rather, ask what kind of art makes sense for what purposes. How much time per day? At what ages? What kind of music? What kind of movement? Should the arts be required? How do we assess arts programs? In answering these real-world questions, Jensen provides dozens of practical, detailed suggestions for incorporating the arts into every classroom. Note: This product listing is for the Adobe Acrobat (PDF) version of the book.
Art Therapy, Trauma, and Neuroscience combines theory, research, and practice with traumatized populations in a neuroscience framework. The classic edition includes a new preface from the author discussing advances in the field. Recognizing the importance of a neuroscience- and trauma-informed approach to art therapy practice, research, and education, some of the most renowned figures in art therapy and trauma use translational and integrative neuroscience to provide theoretical and applied techniques for use in clinical practice. Graduate students, therapists, and educators will come away from this book with a refined understanding of brain-based interventions in a dynamic yet accessible format.
International Best Seller The Art of Neuroscience in Everything is an enchanting exploration of scientific revelation through the surreal and enigmatic experiences of human life, by the celebrated Neuroscientist and one of the greatest thinkers of 21st Century Abhijit Naskar. All human experiences, behaviors, beliefs and feelings such as love, attraction, kindness, empathy, rage, attachment, bereavement and spirituality are the creation of various intricate and inexplicable molecular interactions within the brain. The book opens up that beautiful maze of the human brain to us and brings us closer to our deepest instincts and emotions.
Presenting a neuroscientifically aware approach to art therapy. Art Therapy and the Neuroscience of Relationships, Creativity, and Resiliency offers a comprehensive integration of art therapy and interpersonal neurobiology. It showcases the Art Therapy Relational Neuroscience (ATR-N) theoretical and clinical approach, and demonstrates how it can be used to help clients with autobiographical memory, reflecting and creating, touch and space, meaning-making, emotions, and dealing with long-term stress and trauma. The ATR-N approach, first developed by Noah Hass-Cohen, is comprised of six principles: Creative Embodiment, Relational Resonating, Expressive Communicating, Adaptive Responding, Transformative Integrating, and Empathizing and Compassion (CREATE). The chapters in this book are organized around these CREATE principles, demonstrating the dynamic interplay of brain and bodily systems during art therapy. Each chapter begins with an overview of one CREATE principle, which is then richly illustrated with therapeutic artwork and intrapersonal reflections. The subsequent discussion of the related relational neuroscience elucidates how the ATR-N work is grounded in research and evidence-based theory. The last section of each chapter, which is devoted to clinical skills and applications, integrates practices and approaches across all six of the CREATE principles, demonstrating how therapeutic art making can help people decipher the functional mystery of their relational nervous system, enhance their emotive and cognitive abilities, and increase the motivation to learn novel concepts and participate in a meaningful social discourse.
"When I first started to think about the neural basis of aesthetic experiences in the late 1990s, little was written on the topic. Unlike other domains of psychology, such as attention, or perception, or memory, aesthetics had not gained purchase in cognitive neuroscience. In fact, aesthetics was barely visible in psychology itself despite being rooted in Fechner's writings over a hundred years earlier. In 1999, papers by Zeki (1999) and Ramachandran and Hirstein (1999) were initial forays into scientific aesthetics by established neuroscientists. While undeniably important as initial markers for the field, their papers were but a first step. They were speculative and did not offer a framework for a systematic research program. Scholars in the humanities latched on to these initial papers, in ways that were detrimental to the field. For the most part, they ignored subsequent careful experimental work done by neuroscientists, as if neuroaesthetics began and ended in 1999 (Chatterjee, 2011). Missing in early discussions was a basic question: what would a framework that could guide experimental progress in the neuroscience of aesthetics entail?"--
The first in a series of books that sheds new light on Francis Bacon's art and motivations, published under the aegis of the Estate of Francis Bacon Bacon and the Mind sheds light on Francis Bacon’s art by exploring his motivations, and in so doing opens up new ways of understanding his paintings. It comprises five essays by prominent scholars in their respective disciplines, illustrated throughout by Bacon’s works. Christopher Bucklow argues compellingly that Bacon does not depict the reality of his subjects, but rather their reality for him—in his memory, in his sensibility, and in his private world of sensations and ideas. Steven Jaron’s essay questions the psychological implications of Bacon’s habitual language, his obsession with “the wound,” vulnerability, and the nervous system. Darian Leader’s essay “Bacon and the Body,” presents the latest of his fresh and stimulating insights into the artist. The focus in John Onians’s “Francis Bacon: A Neuroarthistory” is the effect of Bacon’s unconscious mental processes in the creation of his paintings. “The ‘Visual Shock’ of Francis Bacon: An Essay in Neuroaesthetics” is a newly edited and now fully illustrated re-presentation of an article by Semir Zeki, previously accessible only as an online academic paper.
Contents lists index; no index found, however first [14] pages of book are repeated at end of text, and Acknowledgments page (p. xv) is pasted to p. [3] of cover.