frontiers fn HUMAN NEUROSCIENCE PERSPECTIVE ARTICLE ei Steen 201 Artistic explorations of the brain Eberhard E. Fetz* Deparment of Physiology and Biophysics, Unversity of Washington, Seate, WA, USA Edited by ‘ean Sage, The Hebrew Unversity oft, as) Reviewed by: ‘sn Soe, The Hebrew Urry Comespondence: vorhard Fete. Doparmont of Prysicigy ana Biophysics Unters of Washington, Seat, Wa 28106-7200, USA. emai fezOun eds The symbiotic relationships between art and the brain begin with the obvious fect that brain mechanisms underlie the creation and appreciation of art. Conversely, many spectacular images of neural structures have remarkable aesthetic appeal. But beyond its fascinating forms, the many functions performed by brain mechanisms provide a profound subject for aesthetic exploration. Complex interactions in the tangled neural networks in ‘our brain miraculously generate coherent behavior and cognition. Neuroscientists tackle these phenomena with specialized methodologies that limit the scope of exposition and are comprehensible to an initiated minority, Artists can perform an end run around: these limitations by representing the brain's remarkable functions in a manner that can ‘communicate to @ wide and receptive audience. This paper explores the ways that brain mechanisms can provide a largely untapped subject for artistic exploration Keyword: at, bain, neural. collage, aesthetic INTRODUCTION Al cognitive processes are ultimately performed by neurons in the brain, providing ample opportunities to elucidate the neural ‘mechanisms that underlie artistic behavior and the apprecia- tion of art, Several neuroscientists have explored the ways that graphic artists exploit the properties ofthe visual system to ere ate resonant works (Livingstone, 1988, 2000, 2008; Zeki and Lamb, 1994; Zeki, 1999; Cavanagh, 2005; Liu and Miller, 2008). For example, the dominance of portraiture as an art form is clearly based on effective stimulation ofthe specialized face areas ‘of the human brain (Zeki, 1999). The brain regions involved in processing artistic input have been extensively documented through modern imaging techniques (Vartanian and! Goel, 20045 Di Dio et al, 2007; Kim and Blake, 2007; Farhall and Ishai, 2008; Bosnar-Puretic etal, 2009; Chiu, 2009; Kowatariet al, 2009) and. clectrophysiological recordings (Bhattacharya and Petsche, 2002). Ramachandran has proposed several perceptual principles and described the neural mechanisms that may account for the aes- thetic appeal of enduring art (Ramachandran and Hirstein, 1999; Ramachandran, 2011). Art historians have also expounded on the ways that an understanding of brain mechanisms can inform the appreciation of art (Clausberg, 1999; Cantz, 2000). The neu- ral mechanisms underlying aesthetic experience have also been explored and elucidated in several publications (Rentschler et al 1988; Ramachandran and Hirstein, 1999; Zeki, 1999; Vartanian ‘and Goel, 2004; Nadal etal, 2008). Interestingly, images of the brain and the spectacular forms ‘of neural structaces have ther own aesthetic appeal, Laiak hhas just produced a comprehensive review of how the brain has been depicted historically in various contests that serve social and other functions (Larink, 2011), The wide range of images of neural morphology revealed by successively. more sophisticated techniques, from early staining methods to con- temporary multicolor reconstructions is lavishly illustrated in “Portraits of the Mind” (Schoonover, 2010). When appreciated by the right hemisphere rather than the left, the spectacular color images of intermingled neurons rival the aesthetic appeal ‘of Richter’s abstract paintings. Schoonover's book also illus trates the complex patterns produced by multichannel neural activity. A collection of artistic pieces inspired by the brain's anatomy and functions formed an eclectic exhibit in Rotterdam called “Neuro-artonomy,” described in a book by the same name (Voogd, 1998). The book also includes many im: tive essays by neuroscientists and artists concerning each other's endeavors Beyond these reciprocal bridges between art and neuroscience there is a largely unexplored area of brain function as itsel 1 subject for artistic representation, The neural networks in ‘our brains effortlessly perform common miracles of perceiv- ing the world, controlling volitional movements and perform: ing higher functions like speech and thought. These cogni- tive functions are all produced by complex patterns of neural activity, but how mental events emerge from material mecha nisms remains an enduring mystery. The remarkable relation between mind and brain has stimulated philosophers and sci- entists through the ages and holds a fascination for the layman, Neuroscientists have made considerable progress in elucidat- ing the neural mechanisms underlying cognitive function, but their findings are disseminated in professional publications that are inaccessible to the larger population lacking the requisite training. ‘Many deep issues have remained impervious to scientific analysis. How does consciousness emerge from brain activ- ity? How aie coherent cuguitive functions produced by die ‘myriad impulses coursing through seemingly chaotic neural networks? What are the mechanisms that generate emotions, control thinking, mediate satori, etc? While science remains tunable to answer these questions, I believe that art can make an end run around the conceptual impasse. Art excels at ren= dering mysteries that surpass rational exposition. The com= ponents of the above questions are all amenable to various forms of graphic representation and their relationships can Frontiers in Human Neuroscience ‘wore lrontersin.orgate explcaon of he ba be explored by appropriate associations of images. Obviously such an approach would not answer these questions in scien- tific terms, but it can still communicate important relation ships intuitively, Moreover, artistic approaches can communicate these issues to a wider audience than the neuroscience com- ‘munity. Such works could simply incorporate neural images as a reminder that brain mechanisms underlie mental events and bbehavior. But to attain aesthetic resonance such works should go beyond the images of neural forms and explore representations fof the ways that these complex structures give rise to cognitive activity. ARTISTIC REPRESENTATIONS OF THE BRAIN Despite the brain's key role in mediating human experience, wwe have relatively few examples of artistic representations of brain mechanisms and functions. A possible eatly example is ‘Michelangelo's “Creation of Adam” in the Sistine Chapel, which is said to employ an outline of the brain in God's cloud, as a metaphor for the neural basis of creativity (Meshberger, 1990; Lakke, 1999), Others have seen evidence of additional neu- roanatomic images in the Sistine frescoes (Sule and Tamargo, 2010), Depictions of brain mechanisms become particularly com- pelling when displayed in public exhibitions of walk-in ren derings of neural images, accompanied by recordings of neural activity, as in the “Mindscape” project (O'Shea and Sneltvedt, 12006). The Mindscape exhibit, first presented in a Brighton church in 2004, was a multimedia artwork that had “reso- nance in the science of the brain,” The artist Sol Sneltvedt was inspired to represent the neural mechanisms underlying dynamic states of mind and collaborated with neuroscientist Michael O'Shea to create an immersive audiovisual installa- tion, Large-scale projections of neural structures and multi= ple soundtracks of neural activity surrounded viewers with a vivid representation of brain activity. The peojections fluct: ated between different neural images that were synchronized with audio tracks of neural recordings. Representing both fast- scale electrical activity and slower chemical communications, the visualizations presented a rich experience of dynamic brain activity. Similarly, a current travelling exhibition called “BRAIN: ‘The World inside Your Head” presents an elaborate multime- dia exhibit designed to impress viewers with the workings of brain mechanisms that mediate mental experience (details ofthe exhibit and the location of its latest incarnation can be found via Google). Excellent examples of artistic exploration of mind and brain are described in the paper by Goeflrey Koetsch in this Frontiers Special Topic issue (Koctsch, 2011). He illustrates the works of eight New England artists dealing with mental processes and alluding to neural mechanisms, presented in an exhi bition called MINDmatters (sce http://wwwlaconiagalleryorg/ exhibiti8.hum). ‘A prolific contemporary artist whose works have been consis- tently inspired by the relationships between mind and brain is ‘Tada Siler. Siler has produced innumerable striking images and installations representing the interactions between brain, mind and the world in varying levels of abstraction (see http://www. FIGURE 1 | Two examples of Todd Sil’s "Mind ons” rendered on ‘rontal sections ofthe brain and aluding tthe innumerable, Productions ofthe mind and complex structures of the brain. ol Connect” Sie 1975. ight “Radel Flees” Sie (1950), toddsilerar.com). Figure 1 illustrates two pieces from his exten- sive "Mind Icon” series, rendered on slabs shaped like frontal brain sections and painted with images representing mental and rural activity. His dramatic works and creative approaches are described in numerous publications (Siler, 1975, 1990, 1993), and in a comprehensive paper in this Special Topic issue (Siler in press), ‘Another example inspired by brain function is the collage in Figure 2, which alludes to the types of neural interactions that mediate cognitive processing. The subject is the brain of Eric Heller, a physicist interested in wave mechanics, who has also explored aesthetic renderings of quantum processes (see bitp:/www-erichellergallery.com). Heller’s brain converts quan- tum events described by the Schrddinger equation into Matlab code that generates spectacular graphie patterns produced by {quantum wave propagation and resonance. Such images lend themselves perfectly to representations of brain waves and rever- berating neural activity, and are here combined with neural images. One of Heller’s famous figures shows the cumulative pathways that electrons would produce when emerging from a central source and propagating over a potential field (Topinks ct al, 2001); this image, shown on a cover of Nature, resem- bles a generic biological form, including the morphology of Golgi neurons (see prefrontal cortex in Figure2). The col- laged images in Figure2 allude to the resonant interactions between frontal and occipital areas of the brain when creating visual art AA third example (Figure 3) provides @ metaphor of the con- scious self emerging from the complex tangle of neural net works, The human figure may be recognized from its orig- inal incarnation in the Flammarion engraving, depicting an explorer brcaking through the confines of the physical sorld to discover celestial realms beyond (bttp://en.wikipedia.org/wiki/ Flammarion_engraving). This piece is intended to be rendered with the white portion being a mirror surface, reflecting the real world, FUTURE OPPORTUNITIES ‘The collages in Figures 1-3 illustrate the sort of representa- tions through associated images that are possible with pictorial Frontiers in Human Neuroscience ‘wor frontiersn.orgoO FIGURE 2| “Resonant Transformations” a digital collage by the author. The geometric images were create by Fre Halos using smulsons of guint cynics an incorporate hee to abuse oyna ners! intratons inthe brn FIGURE 3 “Awakening” by the autho. The white potion ofthe mage is inended abe rendered ese mir surtace reflacting ety. ‘Aleraivey, the mage can be fendered on cleat oss, wth the white presentation, More profound effects could be achieved with mul- timedia techniques. The dynamic operations of the brain can be elfectively represented by videos of wave propagation through neural networks of the limitless contents of cognitive activity Projecting these videos onto 3D structural renderings of brain networks could provide effective representations of functions ‘emerging from forms. The works could even be made inter- active by incorporating real-time videos of the observer, and could be designed to stimulate the viewer to recognize his own instantaneous brain activity ‘A key advantage of art over science in representing brain function is its wider palete of discourse, allowing it to evoke associations that transcend objective thought. The mind-brain problem has remained refractory to rational resolution, but its underlying mechanisms may be approached by artistic repre- sentation and appreciated by aesthetic revelation. This presents a tich opportunity for artistically inclined neuroscientists, who understand the operations of brain mechanisms and can ren dlr insightful representations. The process of creating visualiza~ tions of brain function could even give neuroscientists right hhemisphere insights that could inform their let-hemisphere investigations. This opportunity should also interest concep: tually inclined artis, who have the requisite creative tal- ents and are inspired to explore this largely untapped aes- thetic realm. Their challenge would be to draw on the rich trove of current scientific information and breathe aesthetic Frontiers in Human Neuroscience ‘wor frontiersn.orgow Arte explorations oe ran life into the deeper issues. Finally, as demonstrated by the ‘Mindscape project, there are ample opportunities for productive collaborations between artists and neuroscientists to create new ‘works inspired by the resonant relations between mind, brain and reality. REFERENCES Bhatdarya Ls and Peche, HL {aaa Shows fairy: orca rt Hur. News 5, 110, do 10.369 /ahum 204140110 Kwari Ys Le, 8. Hy Yamamura, synchrony during poeption and H Nagamor Lens Ps Yamane, imagery of visual srt Brin Rex Sy” and Yamamotn, ML (203) (Cage Bre Re 13, 179-185. [Neural networks ied in aes Soxnar Partie, ML, RojeBedckovie, de ctetity. Hu. Brin Map. 30, MM, and Demaria, V- (2009). The 1678-160 6 newosientic approach. Acta Lake, JP (199). Arf imaging of in Crt 8, 367-57 the bran, From logo to metaphor, (Canty H (200). Geir wd Denko: abot" Michlngso and Kier Koones ie Kop Drden Sting, Ar. ysl she. 107 nl Deutsches Hygene-Museum. Latin, W (2011). Ber som Geli Cavanagh (5). The ait ae neu- ——-Bilisnachftiche Zapoge um roses. Nae 34 301-307 Chir as Selnorgon Ben (Chi, H.-C (2009). Neurology of Akademie Veg Gb, the ans, Acta Nov Twa. 18, Li, Ay and Mile, 1 (208), Visa nee. ‘and the brain’ Hondh Clin Clauberg, K (1999), Neonale Kunst Selene als Gesalunsprinip. Wien 8 New “ov Springs Diin.C, Macaluso, and Rizolat, 6G (207). The glen beauty: brain response ta clan renieance salutes PlaS One 2 120, da 101871journal yoneson1201 Faia, S. Ly and Isai, A. (2008) Neural sorts of objet inde terminacy ina compotion, (Conacit.Co. 17,929 92, im, CY and Bake, R. (2007) ception of implied motion in stsact paintings Spat Vis. 20, 35-560. Koeach, G. (2011, Artite and the mind in the 2st cena, Newel 8, 1-68, Lvngtone, M.S. (1988) Art aon andthe vu stem, Seo 258, 7s, Livingstone MS. (200) it war? Is trea? Or just ow pata rqaency? Logon M.S. (208), Vision an ‘Art Te Boy Sxing. Nee York, NWabrans Mester FL (19%). An inerpe ‘ation of Michelangls Creation of Adan bared on erry. aM 264, 1857-184 Nadal, ML, Muna, E, Capo, Me As Rosell, Js and Cala-Cond,C. 1 (2008), Towards framework for ‘he study of the neural cores of esthetic preference Spt, Vi 2, ‘ACKNOWLEDGMENTS 1 thank the Wissenschaftskolleg2u Berlin for providing the oppor- tunity to create the digital collages in Figures 2 and 3, Eric Heller for providing some ofthe images in Figure, and Todd Siler for permission to reproduce the images in Figure 1. (O'Shea, M, and Sneed, 8. (2006). branched win a tdimensional ‘Mindscape: an arempt to viualoe electron gas Nate 10, the working ofthe Brain. Leonardo 183-186, 8455-457 Vortaninn, O, and Goel, ¥. (2008, Ramachandran, VS, (2011) The Tale Newrosatomical cores of Tale Brain New York NY Norton. Ramachandran, V. Sy and Histo, 'W. (1999). The science of at Consios Stid 6, 15-51 esha prfrenee for punings Nearreoe 15, 895-897. oogd Kd (198) No Artonomy. Rorrdams Newo-atonomy. Rents, Is Herbergr, By and Zeki S. (1999). mer Visions An tein, Di (0888) Beaty and Exploration of Art and the Bri the fin: Bilge! Aspects Oxf Oxford University Pres of Aches, Cambridge, MAS Zeki, Sand Lamb, M. (1990). The Bikaner, neurology of ineic art. Bruin Soononet (200), otras of he ‘Mind NewYork, NY: Aes Sen, T (1975). ART. Strings A “Ge to the Works of Ta Se (Greenwood Vlg, Colorado: Ps PA Communicatons, LLC. Sie, T. (190), Braking the Mind ‘Barr, New York, NY Touchstone, Sie T1983). Csr: rating "Ne Millen of Minds adr ad Gistons Now ork, NY: Ronald Feldman Fine Art ne Sie (nes). Newo-impresions 7183), 607-686. Cont of Interest Statements The futhor dear that the rcuch frat condired inthe staece of any ‘comercial ot Stell relationships that could be construc a4 poentit conic of ines Rex 0 Ape 2001 apt: 20 Ieeuary 2012 palsbed oie 07 ebruary 2012 Gain: Fete BE (2012) avi explo- ‘rot New sation of the brain. Front Hum Saks and Tamang, RJ. (2010), News”. do” 10338, Conca nesrosstomy in 20120008 Michelangelo Separation of Copyright © 202 Fetz This po Light From Darkness in the tn arti dried der he rs Stine Chapel. Newoargery 66, 51-46. Topinka M.A. Leroy Bs Westerve RM, Shaw Feichmann, Hale, 1, Maro, K-Dy and GGosard, A.C (2001). Coherent, Of the Crane Commons Atabution ‘Non Commer! Liens, ich pe int non-commercial we, ribution, ‘nd repraducton in ober fru, pro "ied th oigia authors and soc are reed. Frontiers in Human Neuroscience ‘wore lrontiersin.org