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

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Eric Kandel Reductionism in Art and Brain Science: Bridging the Two Cultures
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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 reductionismthe distillation of larger scientific or aesthetic concepts into smaller, more tractable componentshas 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 timethe brainhas 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.

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Table of Contents
REDUCTIONISM IN ART AND BRAIN SCIENCE ALSO BY ERIC R KANDEL Cellular Basis - photo 1
REDUCTIONISM IN ART AND BRAIN SCIENCE
ALSO BY ERIC R. KANDEL
Cellular Basis of Behavior: An Introduction to Behavioral Neurobiology
Principles of Neural Science
Psychiatry, Psychoanalysis, and the New Biology of Mind
Memory: From Mind to Molecules
In Search of Memory: The Emergence of a New Science of Mind
The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present
ERIC R. KANDEL
REDUCTIONISM IN ART AND BRAIN SCIENCE
BRIDGING THE TWO CULTURES
Columbia University Press
New York
Picture 2
Columbia University Press
Publishers Since 1893
New York Chichester, West Sussex
cup.columbia.edu
Copyright 2016 Eric R. Kandel
All rights reserved
E-ISBN 978-0-231-54208-1
Library of Congress Cataloging-in-Publication Data
Names: Kandel, Eric R., author.
Title: Reductionism in art and brain science: bridging the two cultures / Eric R. Kandel.
Description: New York: Columbia University Press, 2016. | Includes bibliographical references and index. | Description based on print version record and CIP data provided by publisher; resource not viewed.
Identifiers: LCCN 2015049468 (print) | LCCN 2015048058 (ebook) | ISBN 9780231542081 (electronic) | ISBN 9780231179621 (cloth: alk. paper)
Subjects: LCSH: ArtPsychology. | Reductionism. | Visual perception. | Neurosciences and the arts.
Classification: LCC N71 (print) | LCC N71 .K355 2016 (ebook) | DDC 700.1/9dc23
LC record available at http://lccn.loc.gov/2015049468
A Columbia University Press E-book.
CUP would be pleased to hear about your reading experience with this e-book at .
Cover design: Lisa Hamm
Cover image: 1998 Kate Rothko Prizel and Christopher Rothko/Artists Rights Society (ARS), New York. Private Collection/Photo Christies Images/Bridgeman Images
References to websites (URLs) were accurate at the time of writing. Neither the author nor Columbia University Press is responsible for URLs that may have expired or changed since the manuscript was prepared.
To Lee Bollinger, who has created an environment at Columbia that encourages the bridging of cultures.
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CONTENTS
I n 1959 C. P. Snow, the molecular physicist who later became a novelist (
My purpose in this book is to highlight one way of closing the chasm by focusing on a common point at which the two cultures can meet and influence each otherin modern brain science and in modern art. Both brain science and abstract art address, in direct and compelling fashion, questions and goals that are central to humanistic thought. In this pursuit they share, to a surprising degree, common methodologies.
While the humanistic concerns of artists are well known, I illustrate that brain science also seeks to answer the deepest problems of human existence, using as an example the study of learning and memory. Memory provides the foundation for our understanding of the world and for our sense of personal identity; we are who we are as individuals in large part because of what we learn and what we remember. Understanding the cellular and molecular basis of memory is a step toward understanding the nature of the self. In addition, studies of learning and memory reveal that our brain has evolved highly specialized mechanisms for learning, for remembering what we have learned, and for drawing on those memoriesour experienceas we interact with the world. Those same mechanisms are key to our response to a work of art.
i1 C P Snow 19051980 Whereas the artistic process is often portrayed as - photo 4
i.1 C. P. Snow (19051980)
Whereas the artistic process is often portrayed as the pure expression of human imagination, I show that abstract artists often achieve their goals by employing methodologies similar to those used by scientists. The Abstract Expressionists of the New York School of the 1940s and 1950s provide an example of a group that probed the limits of visual experience and extended the very definition of visual art. (For earlier attempts to bridge the two cultures, see E.O. Wilson 1977; Shlain 1993; Brockman 1995; Ramachandran 2011.)
Until the twentieth century, Western art had traditionally portrayed the world in a three-dimensional perspective, using recognizable images in a familiar way. Abstract art broke with that tradition to show us the world in a completely unfamiliar way, exploring the relationship of shapes, spaces, and colors to one another. This new way of representing the world profoundly challenged our expectations of art.
To accomplish their goal, the painters of the New York School often took an investigative, experimental approach to their work. They explored the nature of visual representation by reducing images to their essential elements of form, line, color, or light. I examine the similarities between their approach and the reductionism that scientists use by focusing on these artists as they move from figurative to abstract artin particular, the work of the early reductionist painter Piet Mondrian and the New York painters Willem de Kooning, Jackson Pollock, Mark Rothko, and Morris Louis.
Reductionism, taken from the Latin word reducere, to lead back, does not necessarily imply analysis on a more limited scale. Scientific reductionism often seeks to explain a complex phenomenon by examining one of its components on a more elementary, mechanistic level. Understanding discrete levels of meaning then paves the way for exploration of broader questionshow these levels are organized and integrated to orchestrate a higher function. Thus scientific reductionism can be applied to the perception of a single line, a complex scene, or a work of art that evokes powerful feelings. It might be able to explain how a few expert brushstrokes can create a portrait of an individual that is far more compelling than a person in the flesh, or why a particular combination of colors can evoke a sense of serenity, anxiety, or exaltation.
Artists often use reductionism to serve a different purpose. By reducing figuration, artists enable us to perceive an essential component of a work in isolation, be it form, line, color, or light. The isolated component stimulates aspects of our imagination in ways that a complex image might not. We perceive unexpected relationships in the work, as well as, perhaps, new connections between art and our perception of the world and new connections between the work of art and our life experiences as recalled in memory. A reductionist approach even has the capacity to bring forth in the beholder a spiritual response to the art.
My central premise is that although the reductionist approaches of scientists and artists are not identical in their aimsscientists use reductionism to solve a complex problem and artists use it to elicit a new perceptual and emotional response in the beholderthey are analogous. For example, as I discuss in , early in his career J.M.W. Turner painted a struggle at sea between a ship heading for a distant harbor and the natural elements: the storm clouds and rain bearing down on the ship. Years later, Turner recast this struggle, reducing the ship and the storm to their most elemental forms. His approach allowed the viewers creativity to fill in details, thereby conveying even more powerfully the contest between the rolling ship and the forces of nature. Thus, while Turner explores the boundaries of our visual perception, he does so to engage us more fully with his art, not to explain the mechanisms underlying visual perception.
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