Free PDF The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present
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The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present
Free PDF The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present
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Audible Audiobook
Listening Length: 16 hours and 8 minutes
Program Type: Audiobook
Version: Unabridged
Publisher: Tantor Audio
Audible.com Release Date: June 5, 2018
Language: English, English
ASIN: B07D9PL6LL
Amazon Best Sellers Rank:
I found the first part of this book very interesting. It described two fascinating movements, developing in parallel and interacting with one another to some extent (including in ways not visible at the time), in Vienna at the start of the 20th century: one in medicine, especially psychology, headed by Sigmund Freud, and the other in art, headed by Gustav Klimt, Egon Schiele, and Oskar Kokoschka. I would have loved to pursue these developments and know more about the culture that spawned them.After that, however, the book takes an abrupt turn into brain biology—not surprising, in fairness, since author Kandel is a Nobel Prize-winning expert in neurobiology—and there it stays. First, Kandel examines exhaustively how the brain processes visual information to create what we think of as reality. (Obviously the other senses contribute to that picture as well, but Kandel does not discuss them.) He then builds on this to consider how the brains of viewers react to art, and he shows how Klimt, Schiele, and Kokoschka, among others, instinctively drew on those hard-wired patterns to make viewers respond emotionally to their work.How much you like this book will depend on how interested you are in that subject matter. Kandel explains his material clearly and is not overly technical; I believe that the book would be understandable to anyone who is used to doing science reading at the level of, say, Discover magazine or maybe Scientific American. However, I found it very dry, lacking the description of personalities and milieu that made the first part so intriguing. Somewhere in part 2 (of five) I gave up, concluding, as an apocryphal little boy is supposed to have said of a child’s science book that he got as a Christmas present: “It told me more about penguins than I wanted to know.â€
I am a retired historian, sociologist and philosopher of science who has followed the work of Eric Kandel since 1984, beginning with a sabbatical year attending the neuroscience lectures of Kandel and his colleagues in the basic medical course offered at the Columbia College of Physicians and Surgeons., and subsequently sitting in on the graduate course on neurobiology and behavior offered in his department.This is an excellent, but surprising, book. Its excellence has been documented by the many reviewers who agree with my five star rating. On the other hand, I would argue that a number of the book's negative reviews were written by persons who overlooked its very significant surprises, clearly stated in the book's closing chapter.Foremost among these is a very clear rejection of that form of reductionism known as eliminative materialism; the view that the "mentalese" vocabulary of folk psychology is fated to be replaced by the lexicon of a "mature neuroscience.""For every parent discipline such as psychology, the study of behavior, there is a more fundamental field, an anti-discipline -- in this case, brain science – that challenges the precision of the methods and claims of the parent discipline. Typically, however, the anti-discipline is too narrow to provide the more coherent framework or the richer paradigm needed to usurp the role of the parent discipline, whether it be psychology, ethics or law. The parent discipline is larger in scope and deeper in content and therefore cannot be wholly reduced to the anti-discipline, although it ends up incorporating the anti-discipline and benefitting from it. This is what is happening in the merger of cognitive psychology, the science of mind and neural science, the science of the brain, to give rise to a new science of mind.†p. 505Further, whereas Kandel, in a personal conversation early in 1985, held to a firm and somewhat threatening distinction of "studies of science" and "studies of scientists," severely denigrating the latter, in 2012, he opens the door for a well-informed sociology of science:"Rather than seeing a unified language and useful set of concepts connecting key ideas in the humanities and the sciences as the inevitable outcome of progress, we should treat the attractive idea of consilience as an attempt to open a discussion between restricted areas of knowledge. In the case of art, these discussions might involve a modern equivalent of (a Viennese salon) … artists, art historians, psychologists, and brain scientists talking with one another … in the context of new academic inter-disciplinary centers at universities." p. 506The passages I've quoted seem to pull the rug out from under many of Kandel's critics. Far from an imperialist neuroscience of art, he seeks to promote a tolerant conversation involving neuroscientists, artists and historians and philosophers of art.In the spirit of such conversation I might ask Kandel to clarify the nature, and direction, of the vectors of influence connecting Viennese painters at the turn of the 20th century and Harvard neuroscientists in the decades following WWII.
There is so much that is richly instructive and insightful In this book - especially in the breadth and depth of Kandel 's knowledge and understanding about the brain and the mind. But he is less than convincing in the argument he makes about the relationship between the art he examines and the ideas he wants to attach to it. There are of many moments in the book where I found myself learning about how the brain and the mind work as well as about what he sees in the artwork. But there also many others where I felt as though I were slogging through a jungle at night, and I needed a stronger flashlight. Could be my eyes at fault, of course. But too often I felt like the illumination and the direction were insufficient to task.
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