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Reductionism in Art and Brain Science: Bridging the Two Cultures, by Eric Kandel

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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.
- Sales Rank: #20899 in Books
- Published on: 2016-08-30
- Original language: English
- Number of items: 1
- Dimensions: 9.20" h x .80" w x 6.30" l, 1.00 pounds
- Binding: Hardcover
- 240 pages
Review
Eric R. Kandel seamlessly moves between the intricacies of science and art, weaving their histories into a common narrative that illuminates both fields and shows they have more in common than is often assumed. It is a fun and informative read that anyone with a curious mind can enjoy and learn from.
(Joseph LeDoux, author of Anxious: Using the Brain to Understand and Treat Fear and Anxiety)Kandel's book, with one foot in the humanities and one foot in the sciences, stands comfortably in both. Writing in deceptively simple prose, not unlike the art he writes about, Kandel lucidly states the biological case for how abstract art challenges us to look so that we can see.
(Jim Coddington, chief conservator, Museum of Modern Art)Words like 'genius' or 'renaissance man' are rarely used in these egalitarian times, but such descriptions wouldn't be entirely inappropriate for Kandel, who is renowned for his work on memory. He has now written a remarkable book full of poetic insights without compromising scientific rigor.
(V. S. Ramachandran, author of The Tell-Tale Brain: A Neuroscientist's Quest for What Makes Us Human)Aiming to lessen the gap between the cultures of art and science, Kandel forwards new ways of considering abstract art through the model of reductionism: less is more when it comes to stimulating the brain's creative abilities and our aesthetic responses.
(Emily Braun, Distinguished Professor of Art History, Hunter College and the Graduate Center, CUNY)In this engaging and brilliant exploration, Kandel illuminates the beauty and power of both abstract art and the brain and mind that unravels it. It is a bold and exciting story about the modern revolution in art and brain science that bridges the traditional chasm between the culture of the arts and sciences and helps us understand and experience the most challenging art with the depth it deserves and the joy it enables.
(Walter Mischel, author of The Marshmallow Test)Eric Kandel's new book, Reductionism in Art and Brain Science is a beautiful integration of visual art and neuroscience. The book engages C.P. Snow's theme of two cultures- the humanities and the sciences- and provides an artful window into the science of the mind through his fourteen nicely written chapters that include elegant figures in visual art and neuroscience. While the book de-mythologizes the idea of reductionism, it also importantly provides a sense for knowing an object and the objects to be known. This is a must read for both neuroscientists and anyone interested in the visual arts and humanities.
(Jay Schulkin, Georgetown University)[A] fascinating survey of mind science and modern art.... Kandel presents concepts to ponder that may open new avenues of art making and neuroscientific endeavor.
(Publishers Weekly)[An] intriguing treatise.
(Nature)Recommended for those interested in the intersection of psychology and art.
(Library Journal)The effort to complete this book will be well rewarded.... C.P. Snow would be proud.
(Neurology Today)Unique and thought-provoking.
(Times Higher Education)Elegant and entertaining.
(Wall Street Journal)[Eric Kandel's] new book offers one of the freshest insights into art history in many years.
(Salon) About the Author
Eric R. Kandel is University Professor and Kavli Professor in the Departments of Neuroscience, Biochemistry and Molecular Biophysics, and Psychiatry at Columbia University. He is director of the Kavli Institute for Brain Science and codirector of the Mortimer B. Zuckerman Mind Brain Behavior Institute at Columbia. In 2000, he was awarded the Nobel Prize in Physiology or Medicine. His recent books include The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present (2012) and In Search of Memory: The Emergence of a New Science of Mind (2007), as well as Principles of Neural Science (2012), of which he is lead coauthor.
Most helpful customer reviews
37 of 37 people found the following review helpful.
The Neuroscience Behind Modern Art Movements & The Art Behind Advances in Neuroscience
By Dr. Debra Jan Bibel
I do not know how this concise, clearly written, well-illustrated synopsis of the relationships of psycho-neurobiology and art appreciation will be received by the general reader. I regard this as an important book, but then I am a medical scientist and an artist already familiar with the experimental and historical evidence of the two associated disciplines. The 20th century saw a new approach to art and mental science, both applying narrow, minimalistic, reduced approaches to grasp the marrow of the larger processes. (Not covered is the Far East Asian form of art whose ink paintings have been for centuries simplistic with sparse lines and broad spaces that the viewer connects and fills in to construct familiar forms.) The primary focus is on how we see, how photon arrays falling on our retina are deconstructed, channeled, analyzed by element and position or orientation, and then associated through memory with learned forms, and how learning requires new synapses and stimulated molecular responsive pathways. Modern art has been an exploration in parallel with neuroscience. Cubism with its combined perspectives and discontinuity, abstract geometric paintings of simple, inherently or acquired emotional colors and color juxtapositions and line paths, and complex arrays of indefinite forms suggestive of texture or movement challenge the viewer, probing deep into the senses and perception. Metaphor was replaced with direct expression; and one artist, Mondrian, had mystical intentions in his later paintings while another, Rothko, whose works many regard as spiritual, had no such objective.
Author, Nobel Prize-winner, Eric R. Kandel, whom some viewers of PBS and Charlie Rose know through his series of roundtables on the brain, is mainly a philosophical physicalist, but he does include the feedback looping of bottom-up, emergent reductionism and top-down, organismal holism of learned and experiential associations. Indeed, much of modern art is a mutually dependent creative union of form and receiver, i.e, not what the art is about, but instead what the viewer feels, imagines, or thinks. The book presents seminal examples of artistic insights. Artists, such as Mondrian, Klee, and Kandinsky, wrote essays about the psychological effect of certain artistic techniques and presentations, and Kandel explains the neuroscience behind it. Color fields present a psycho-neurological problem, as people perceive a given color differently, dependent on distance; lighting intensity, hue, and angle; contrast; adjacent hues; and in the instance of color-blindness, neurology. Some artists create optical illusions and stimulate optic centers, with the viewer perceiving shapes, hues, contours, and elevations that are not actually present, further questioning our reality. Other artists take mundane items or icons and craft their forms or images into a different way of seeing, as in Pop Art, bringing sociological and socio-political aspects into fine focus. I hope that this small book finds its way into science and art curricula, interdisciplinary studies, and into the hands of the general reader.
25 of 25 people found the following review helpful.
this book is the perfect gift you can get for yourself
By Gonza
Everything Kandel writes, needs to be read. That said, if you are interested in art and paintings and you are also a connoisseur of the Human Brain, this book is the perfect gift you can get for yourself. I would have just loved to know more about arts to enjoy this book as it should, anyway it's clear and full of pictures, so don't worry.
Sono sempre stata dell'idea che sia necessario leggere qualsiasi cosa scritta da Eric Kandel; detto questo se siete interessati all'arte e alla pittura e vi considerate un "fine conoscitore" delle neuroscienze, questo libro � il regalo migliore che possiate farvi. Io avrei solo desiderato conoscere pi� storia dell'arte per apprezzarlo in toto, ma non preoccupatevi perch� � pieno di immagini.
0 of 0 people found the following review helpful.
An elegant consideration of abstract art and underlying brain science
By Montana Skyline
I am a great admirer of Kandel's previous books, particularly his "In Search of Memory" and "The Age of Insight." Each of these is outstanding in clarity and precision of writing, as well as for their thought-provoking insights insights about the relation of science and art, particularly including psychology and culture. The present book is much briefer, and much narrower in scope, although not in aim. Specifically, Kandel examines our visual perception through the lenses of 20th Century abstract art and the underlying neurology/biology of "top-down" and bottom-up" brain function. His stated objective is to "bridge" the cultures of art and science by demonstrating their relation through a similar method ("Reductionism"), and more generally by showing how each helps us better understand and appreciate the other. Although his may be a first step only, this is an elegant short work, engaging and a pleasure to read and reflect upon.
I have small criticisms, perhaps only personal, that I may as well share briefly. One of Kandel's great strengths is the clarity and precision of his writing, particularly in his explanation of science. Although his exposition of the relevant brain science in the present book exemplifies that strength, his discussion of the art occasionally lapses into the less helpful language of an exposition catalogue. I don't want to overstate this, as mostly he is attentive to explaining how an abstract work is constructed and how this may relate to how our brain processes form, line color and light. But perhaps his own perception and emotional appreciation of particular works occasionally overwhelms his commitment to precision of explanation. Maybe an example of the separate cultures that he is seeking to bridge! The other criticism (if it is that) is simply that some fascinating notions are introduced in the final chapters, especially in "Why Reductionism is Successful in Art," almost as a tease, without being much explored. I would very much enjoy a future Kandel book expanding on these ideas.
But put these small complaints aside: Kandel makes a thoughtful, stimulating argument for the importance of integrating our understanding of art and brain science as a means of better understanding and appreciating both. And he does this in a nicely written, beautifully printed and illustrated volume that is (not incidentally) artistic in itself. My only admonition is that, if you enjoy this book, by all means read Kandel's earlier work, especially his fine "The Age of Insight" --- which I personally think makes the case for the intimate relation of art and science even better than the present book.
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