- 出版社: Columbia University Press (2016年8月30日)
- 精装: 240页
- 语种： 英语
- ISBN: 0231179626
- 条形码: 9780231179621
- 商品尺寸: 15.2 x 1.9 x 22.9 cm
- 商品重量: 653 g
- ASIN: 0231179626
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Reductionism in Art and Brain Science: Bridging the Two Cultures (英语) 精装 – 2016年8月30日
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
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.
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.
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.
What makes this book interesting is the privileged position the reader is placed in: to glimpse into the mind of a first class practitioner of the "hard sciences" and to see how Kandel thinks about art. The book lends itself to hard thought about the rift between science and the humanities.
Those painters have had their approach reading in their works particularities of the universe, whom they have seen in a way between subjective and objective. So the perception has moved the inner connection of the mind and the student of art has correlated with the memory all that he learned.