Diatrope Blog

How the U. of Tulsa Landed Bob Dylan’s ‘Secret Archive’

How did the University of Tulsa land the coveted Bob Dylan archive? The coup was the result of a lengthy courtship that began more than a year ago, see article here

Video: Amy Ione Lecture: “Art and the Brain: Plasticity, Embodiment, and the Unclosed Circle”

Keynote lecture for Off the Lip 2015 conference at Cog Novo: Transdisciplinary Approaches to Cognitive Innovation: Conference from 9-11 Sep 2015. The lecture introduces ideas from Ione’s forthcoming book, Art and the Brain: Plasticity, Embodiment, and the Unclosed Circle see www.diatrope.com/artbrainbook.

Also posted on the page are the two other keynotes: “Roger Malina, New Forms of Art-Science Collaboration: Case Studies” and “Sundar Sarukkai, Cognitive Innovation in Mathematics”, see http://www.cognovo.eu/events/otlip15-keynotes.php#amy-ione

Reductionism in Art and Brain Science: Bridging the Two Cultures by Eric R. Kandel (Reviewed by Amy Ione)

Reductionism in Art and Brain Science: Bridging the Two Cultures
by Eric R. Kandel
Columbia University Press, NY, NY, 2016
240 pp. Trade: $29.95, ISBN-10: 0231179626;ISBN-13: 978-0231179621
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Reductionism in Art and Brain Science: Bridging the Two Cultures by Eric Kandel, like his study The Age of Insight [1], builds on earlier efforts to couple science and art, particularly those of Alois Riegl (1858-1905), Ernst Kris (1900-1957), and Ernst Gombrich (1909-2001). These three men, he tells us, endeavored to establish art history as a scientific discipline by grounding it in psychological principles. Riegl emphasized the “beholder’s involvement, stating that art includes the perceptual and emotional involvement of the viewer. Kris studied ambiguity in visual perception, concluding that every powerful image is inherently ambiguous because it arises from experiences and conflicts in the artist’s life. Gombrich extended Kris’ ideas to include the inverse optics problem: how our brain takes the incomplete information about the outside world that it receives from our eyes and makes it complete. This is a problem that arises because the brain reconstructs the images we see. It should be noted that Gombrich’s positioning in his well known Art and Illusion [2] is, like Kandel’s, more concerned with beholders than artists or the community.

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Location of Johannes Vermeer’s “The Little Street” discovered

New research in the archives has made it possible to pinpoint the exact location of Johannes Vermeer’s world-famous ‘The Little Street’. The Rijksmuseum has an exhibition on the discovery.

See https://www.rijksmuseum.nl/en/vermeers-the-little-street-discovered

Is Big History a step in the right direction?

From NPR: While most history courses start with the beginning of human civilization, roughly 10,000 years ago, Big History starts with the Big Bang. Humans don’t get mentioned until halfway into the course. It is exciting to hear that people are learning about history and science in tandem and I applaud the multidisciplinary as well. Like many historians, however, I wonder about the limited attention to human history in these courses. Parts 1 and 2 from NPR are below the break. Continue reading “Is Big History a step in the right direction?”

Strange Tools: Art and Human Nature (Book Review)

Strange Tools: Art and Human Nature
by Alva Noë

Reviewed by Amy Ione
PDF

Strange Tools: Art and Human Nature endeavors to, as Alva Noë the author puts it, introduce art as “its own manner of investigation and its own legitimate source of knowledge” (p. xii) using the enactive approach that he has been working with for a number of years. According to this view, “experience is something we enact or perform; it’s not something that happens in us or to us” (p. 215), “it is something we do, or make, or achieve. And like everything else we achieve, we do so only against the background of our skills, knowledge, situation, and environment, including our social environment” (p. xii). His basic philosophical argument is that we can only understand the human mind in relation to bodily actions given that our experience is situational. Within this he claims that our lives are structured by organization and because art is a practice for bringing our organization into view, it reorganizes us.

When we consider art, Noë tells us, there are two levels we need to keep in mind. On the one hand, the defining feature of what he terms Level-1 activities is that they are basic and involuntary modes of organization. On the other hand, Level-2 activities play with and re-shape level-1 activities. The sum total is that active human experience is neither personal consciousness nor subpersonal (autonomic) consciousness. It is not personal because it is interactive and (again) situational activities add meaning to our lives in a way that does not reduce to subpersonal (autonomic) consciousness. Since technologies are a part of how we reorganize our lives, and art is an engagement with technologies, art includes a second-level manner of organization/reorganization.

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Headhunters: The Search for a Science of the Mind (Book Review)

Headhunters: The Search for a Science of the Mind
by Ben Shephard

Reviewed by Amy Ione

Headhunters: The Search for a Science of the Mind traces a slice of history that in turn introduces us to some of those drawn to study human psychology and mental health a few decades after Darwin’s theory of evolution took root. Four of these pioneers are the focus of this book: William Rivers, Grafton Elliot Smith, Charles Myers, and William McDougall. They met at Cambridge in the 1890s and Shephard links their lives more broadly through their efforts to study the brain as biological approaches were gaining increased leverage due to Darwin’s work. The author begins the book by placing us in that context:

“How, then, did the human brain evolve? Why did it evolve as it did? In the 1870s, modern experimental neuroscience began, using electricity to stimulate the nervous system of animals and microscopes to observe the nerve cells of humans. Within two decades, researchers had established the location of functions within the brain, unraveled the way that the nervous system automatically governs the body’s functions, and begun to discover how messages are sent between neurons and synapses. But these extraordinary advances only posed further questions — about human behavior; man’s relations to his fellow primates, and the human occupation of the earth. A generation of scientists went looking for answers” (p. 1).

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You See More When You Draw (so stop taking photos)

In today’s world of mobile phones and media a visit to a museum is often a passive and superficial experience. Visitors are easily distracted and do not truly experience beauty, magic and wonder.

The Rijksmuseum wants to help visitors discover and appreciate the beauty of art and history through drawing, so #start drawing in the galleries of the museum.

Ways of Seeing: Human and Animal Perspectives

Many of us equate the variety of ways in which we see with John Berger’s classic book Ways of Seeing, also presented as a series on BBC. His book’s focus on cultural perspectives doesn’t touch on how differently humans and animals see. Berger later wrote an essay, “Why Look at Animals?” a part his 1980 anthology About Looking, which examines how we look at animals, but not how animals see.

A fascinating article in Atlantic brings to mind how limited our perspective is when we focus primarily on human seeing. The subject of how animals see is a fascinating field study, one that warrants more attention, as a recent article titled “This Animal Has a Suit of Armor With Hundreds of Built-In Eyes” reminds us. This article introduces a group of little-known sea creatures called chitons. They have evolved armor contains hundreds of eyes.

Chitons are mollusks, related to snails, clams, and octopuses. Their oval bodies are covered by a hard shell consisting of eight overlapping plates, which makes them look a bit like a woodlouse with a skirt, or perhaps like the forehead of a Klingon. In many species, these plates are dotted with hundreds of tiny beads, each less than a tenth of a millimeter across. These are eyes. Each contains a lens, a light-sensitive retina, and a layer of black pigment.

For links to a variety of examples on how animals see, visit Christopher Tyler’s Eye Page. He also includes links to a number of other sites. The image accompanying this post is from Tyler’s site. It is the eye of a female net-casting spider from Australia. The large lens concentrates light on the retina.

Article: Tyler Study debunking myths about color vision (Optometry Today)

Study uses arrays of multicoloured disks to demonstrate colour perception in peripheral vision

Some common science-related misconceptions are particularly persistent, such as a duck’s quack doesn’t echo, or that we only use 10% of our brains.

Now new research from City University London is aiming to dispel a long-held misbelief relating to colour vision: that it is weak or non-existent in our periphery vision.

“This misconception about weak peripheral colour vision is completely incorrect,” said Professor Christopher Tyler, a visual neuroscientist at the university’s School of Optometry and Vision Science, who carried out the study.

“Although the number of cone photoreceptors is lower in the periphery than in the fovea, with about 4000 cones per mm2 throughout the peripheral retina compared to 200,000 in the central fovea, this is still plenty enough to give colour vision,” said Professor Tyler.

Continue reading article in OT (Optometry Today), 11 Nov 2015 by Ryan O’Harehttps://www.aop.org.uk/ot/science-and-vision/research/2015/11/11/research-debunks-misconceptions-around-peripheral-colour-vision

Read the full study in i-Perceptionhttp://ipe.sagepub.com/content/6/6/2041669515613671.full.pdf