Book Review: Amy Ione reviews The Empathy Diaries: A Memoir by Sherry Turkle

The PDF is now available for The Empathy Diaries: A Memoir by Sherry Turkle.

(Reviewed by Amy Ione, Published in Leonardo, Volume 54, Number 5, 2021, pp. 583-586 (Article). Leonardo is published by The MIT Press).

Book coverBook review summary:
Sherry Turkle’s exemplary research on technology as it relates to humans, personal relationships and children has provided key insights as the computer has ingrained itself in our world. While her early chronicles on innovative technologies were impres­sive, I felt that the more important contributions were her insights chal­lenging the unbridled enthusiasm of innovative technologists and how technology often compromised privacy.

This memoir-primarily devoted to the period from her child­hood through her tenure appoint­ment years (1948-1985) presents more details related to the person behind early works like The Second Self than the researcher who later penned Life on the Screen and Alone Together. That said, the book does cogently capture how Turkle came to the interdisciplinary framework that has often set her apart.

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The Empathy Diaries: A Memoir by Sherry Turkle. Penguin Press. 2021. 384 pp., illus. Hardcover. ISBN-10: 0-525560092; ISBN-13: 978-0525560098.

New Book Reviews now online

PDFs for Amy Ione’s Reviews of Biology in the Grid: Graphic Design and the Envisioning of Life and From Melies to New Media: Spectral Projection now online.

From Melies to New Media: Spectral Projections by Wendy Haslem. Intellect Press, Bristol, U.K., 2019. 201 pp., illus. Paper. ISBN: 978-1783209897. (Reviewed by Amy Ione, Leonardo, Vol. 54, No. 3. PDF

Biology in the Grid: Graphic Design and the Envisioning of Life by Phillip Thurtle. University of Minnesota Press, Posthurnanities Volume 46, Minneapolis, MN, 2018. ISBN: 978-1517902773; ISBN: 1517902770. (Reviewed by Amy Ione, Leonardo, Volume 53, Number 3, 2020, pp. 343-346) PDF

Book Review of The Seductions of Darwin: Art, Evolution, Neuroscience by Mathew Rampley

Reviewed by Amy Ione, May 2020

It is not surprising that Mathew Rampley’s book, The Seductions of Darwin: Art, Evolution, Neuroscience, caught my eye since the volume touches on a number of topics covered in my own Art and the Brain: Plasticity, Embodiment, and the Unclosed Circle. [1] What did surprise me is that, despite analyzing many of the same subjects (cave painting, evolutionary psychology, art history, neuroaesthetics, neuroarthistory, etc.), the two books are worlds apart, even as we share similar goals. Both of us state that we seek to encourage humanistic thinking and voice reservations about the scientific and philosophical research surrounding art, neuroscience, and evolution. Yet, while I agree with Rampley’s premise that efforts to construct a “unity of knowledge” theory are misconceived, I found that his book read like a polemic, with arguments more along the lines of “not this, not that” than a humanistic probing of the contours of art, evolution, and neuroscience. This reaction is one the author himself acknowledges as possible, writing: “[m]uch of the discussion will come across as polemical in tone” (p. viii) and “[i]t would be reasonable to conclude, given the polemical tone adopted in this book, that I see neo-Darwinian approaches as having little value” (p. 140). Thus, my principal take-away was a humanistic-type question: Why is it that two people who review much of the same range of information can come away worlds apart? He is clear that, “It might be objected that I am relying on a reductive and overly empirical notion of inquiry, one based on the testing of hypotheses, and that this approach is particularly problematic when applied to the humanities” (p. 139); consistent with this statement, I take a more dialogical humanistic type of approach to the issues.

The Seductions of Darwin itself consists of an informative introduction, four chapters, and a conclusion. The bulk of the book outlines what Rampley sees as persistent weaknesses in theories of art that assume (presume) a Darwinian or neuroscientific perspective. What was most prominent within this is that he is looking for a unifying explanatory methodology (despite his claim that efforts to construct “unity of knowledge” theories are flawed). This paradoxical strategy lands him in a space that largely mirrors the theoretical problems inherent in the arguments he rejects.

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Book Review by Amy Ione: The Runaway Species: How Human Creativity Remakes the World

Reviewed by Amy Ione, January 2018

Although creating a mess is not qualitatively the same as creating an original mathematical equation, what the word ‘creating’ denotes in each case is nonetheless clear. I cannot answer why we easily comprehend the meaning in both instances, but I do know that creativity’s amorphous and multidimensional reality is tantalizing even if our use of the word spans a spectrum of activities. In terms of discovery and human psychology, a good touchstone is a graphic that the creativity researcher Robert Sternberg put together titled “Cognitive Characteristic of Creative Persons” [1]. In it he summarizes the views of 16 authors who contributed to an anthology he edited on this subject in 1988. One striking feature of the chart is that each author stressed multiple traits and yet no single trait was postulated by every one of the renowned contributors. Among them were Mihaly Csikszentmihaly, Howard Gardner, Howard Gruber, and Dean Simonton. Equally striking 30 years later is that the distribution of the 20 relevant characteristics they identified seems dated now. Nine of the experts, the second highest number for any trait, argued for specialization (or creativity in a particular domain) in 1988. Given the emphasis on transdisciplinary work in the 21st century, I would guess that this factor would not rank as high today. By contrast, the top characteristic, stressed by 11 of the 16 authors, seems to still hold. This is the use of existing knowledge as a basis for new ideas. Even so, at under 70% it was nonetheless not universally chosen.
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Book Review: The New Ecology: Rethinking a Science for the Anthropocene

The New Ecology: Rethinking a Science for the Anthropocene
by Oswald J. Schmitz
Princeton University Press, Princeton, NJ, 2016
256 pp. Trade, $35
ISBN: 978-0691160566.

Reviewed by Amy Ione
Director, The Diatrope Institute

Posted on Leonardo Reviews March 1, 2017: Download PDF

Although global-scale human influence on the environment has been recognized since the 1800s, the term Anthropocene, introduced about a decade or so ago, was only accepted formally as a new geological epoch or era in Earth history in August 2016. Then an official expert group said that humanity’s impact on the Earth is now so profound that a new geological epoch – the Anthropocene – should be officially declared. Ironically, this geologic term, frequently associated with ecology in the public’s mind, is generally attributed to Paul J. Crutzen, a Nobel Prize-winning atmospheric chemist. Crutzen, who is obviously neither a geologist nor ecologist, explains its beginnings as follows:

“The Anthropocene could be said to have started in the latter part of the eighteenth century, when analyses of air trapped in polar ice showed the beginning of growing global concentrations of carbon dioxide and methane. This date also happens to coincide with James Watt’s design of the steam engine in 1784.” [1]

Perhaps it is because Crutzen and Oswald J. Schmitz, the author of The New Ecology: Rethinking a Science for the Anthropocene, come from different backgrounds that there is a noteworthy difference in how each embraces the term. Schmitz’s emphasis in The New Ecology is on optimism despite what many see as a global environmental crisis. Crutzen, by contrast, sees more reason for concern, claiming that the discovery of the ozone hole over Antarctica served as defining evidence that human activity has moved us into a new epoch. Indeed one of the defining features of The New Ecology is Schmitz’s assertions that the idea that Earth’s biota is doomed is incorrect: “[t]he New Ecology reveals that species may rapidly evolve and adapt to their changing environmental conditions,” and, perhaps more importantly given the concerns of many today, “[t]his gives hope that the future may not be as dire as it is often portrayed” (p. 104). In other words, while some see a grim picture, Schmitz, a professor of ecology at Yale University, declares, “the realization that evolutionary and ecological processes operate contemporaneously offers some hope that species have the capacity to adapt and thereby sustain ecological functioning” (p. 102). In support of this view Schmitz further argues that new computational tools now allow us to account for feedbacks and nonlinearities. With the ability to understand the dynamics of complex ecological systems, he claims, we are able to use models to predict how feedbacks propagate throughout food webs in response to disturbances, such as harvesting. Researchers can also explore different scenario outcomes.

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Book Review: Amy Ione reviews Art Nouveau In Buenos Aires: A Love Story

Art Nouveau In Buenos Aires: A love story
Anat Meidan
Ediciones Polígrafa, 2017
242 pp. Trade, US$ 55; 45.00€
ISBN: 978-8434313613.

Reviewed by Amy Ione
Director, The Diatrope Institute

Posted on Leonardo Reviews

After the recent election in the United States, I was drawn to the title of Anat Meidan’s exquisite book, Art Nouveau In Buenos Aires: A love story. How I longed for a love story to escape the raucous tone! Meidan’s book seemed like a particularly apt vehicle since Art Nouveau was the first art movement I fell in love with as a young artist. As it turned out, this volume was the perfect salve. The author both conveyed her love for this city and shared the joy she found in exploring it:

A museum curator with a special interest in the Art Nouveau movement, the book succeeds because Meidan’s love story combines a passion for the art with a scholarly perspective. We learn that the project was seeded when she purchased a postcard with images of local Art Nouveau buildings in the city. (An image of the card is among the book’s illustrations.) This postcard led her to become a “collector of buildings” as she turned the city into an open-air museum. The large format of the volume, it measures 10×12 inches, readily conveys the elegance of her “building collection.” Credit is also due to Gustavo Sosa Pinilla, a leading architectural photographer who accompanied her on the expeditions around the city. Indeed, the use of multiple photographs helps her present both the architecture and its details. Her presentation was also helped by the generosity of people she met. She tells us that in many cases her evident interest in a site led to personal tours of private spaces. Looking back, Meidan sums us the project as follows:

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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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