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.

Refer to the schematic. Think of this as an overview (flyover). We are going to see what happens in the human brain at that point of connection between the artist and the observer using artwork as data. The artwork was done by me over several years (1980 at least > 42 years). I said in 2002 after I retired that I was going to do brain research: The Effects of Aging on Creativity and Expression. Let’s look at the Artist: We all have life’s experiences and they are different for each person. These experiences are taken into the brain by way of the senses: sight, hearing, taste, smell, and touch etc. These experiences are stored in the brain as memories/thoughts. Stimuli presented through the senses cause the mind to see similarities (pattern recognition) between the stimuli and the stored memories/thoughts to recall the memories/thoughts from the brain and with the mind/personality (lights up) acts out to produce an artwork. Another way of looking at this is that the mind is an expression of the brain and the personality is expressed by the mind. The person loves that, finds pleasure in that, has to have that, and acts out producing the artwork. He makes it happen. The artist has now produced an artwork. He found pleasure in the memory that caused the mind to recall that and expressed it through the personality. The brain/mind/personality complex are self-awareness. Acting out to produce a tangible creation is consciousness. It is an action outside of the self. The artwork can be a poem, painting or even a concept that an engineer designs to solve a problem. The artist has now produced an artwork. He found pleasure in the memory that caused the mind to recall that and expressed it through the personality. The Observer: An observer comes along and he loves that artwork (lights up), finds pleasure in it, wants that, and makes it happen, He buys the artwork. There is then some sort of empathy going on between the artist and observer. That empathy I call the “Draw” or “Pull” common to both the artist and the observer.

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 collection contains hundreds of beautiful rarely-seen-before figures produced throughout the nineteenth century and the beginning of the twentieth century by famed father-of-modern-neuroscience Santiago Ramón y Cajal (1852-1934) and his contemporaries. Cajal was captivated by the beautiful shapes of the cells of the nervous system. He and his fellow scientists saw neurons as trees and glial cells as bushes. Given their high density and arrangement, neurons and glial resembled a thick forest, a seemingly impenetrable terrain of interacting cells mediating cognition and behavior.

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.

"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?"--

Beautifully illustrated and vividly written, "Inner Vision" explores how different areas of the brain shape responses to visual arts. 84 color illustrations. 8 halftones. 30 line illustrations.