This book is the second volume of autobiographical essays by distinguished senior neuroscientists; it is part of the first collection of neuroscience writing that is primarily autobiographical. As neuroscience is a young discipline, the contributors to this volume are truly pioneers of scientific research on the brain and spinal cord. This collection of fascinating essays should inform and inspire students and working scientists alike. The general reader interested in science may also find the essays absorbing, as they are essentially human stories about commitment and the pursuit of knowledge. The contributors included in this volume are: Lloyd M. Beidler, Arvid Carlsson, Donald R. Griffin, Roger Guillemin, Ray Guillery, Masao Ito. Martin G. Larrabee, Jerome Lettvin, Paul D. MacLean, Brenda Milner, Karl H. Pribram, Eugene Roberts and Gunther Stent. Key Features * Second volume in a collection of neuroscience writing that is primarily autobiographical * Contributors are senior neuroscientists who are pioneers in the field

Experts describe current perspectives and experimental approaches to understanding the neural bases of creativity. This volume offers a comprehensive overview of the latest neuroscientific approaches to the scientific study of creativity. In chapters that progress logically from neurobiological fundamentals to systems neuroscience and neuroimaging, leading scholars describe the latest theoretical, genetic, structural, clinical, functional, and applied research on the neural bases of creativity. The treatment is both broad and in depth, offering a range of neuroscientific perspectives with detailed coverage by experts in each area. The contributors discuss such issues as the heritability of creativity; creativity in patients with brain damage, neurodegenerative conditions, and mental illness; clinical interventions and the relationship between psychopathology and creativity; neuroimaging studies of intelligence and creativity; the neuroscientific basis of creativity-enhancing methodologies; and the information-processing challenges of viewing visual art. Contributors Baptiste Barbot, Mathias Benedek, David Q. Beversdorf, Aaron P. Blaisdell, Margaret A. Boden, Dorret I. Boomsma, Adam S. Bristol, Shelley Carson, Marleen H. M. de Moor, Andreas Fink, Liane Gabora, Dennis Garlick, Elena L. Grigorenko, Richard J. Haier, Rex E. Jung, James C. Kaufman, Helmut Leder, Kenneth J. Leising, Bruce L. Miller, Apara Ranjan, Mark P. Roeling, W. David Stahlman, Mei Tan, Pablo P. L. Tinio, Oshin Vartanian, Indre V. Viskontas, Dahlia W. Zaidel

A keyword listing of serial titles currently received by the National Library of Medicine.

"Coursebook on law and neuroscience, including the bearing of neuroscience on criminal law, criminal procedure, and evidence"--

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.

First multi-year cumulation covers six years: 1965-70.