Neuresthetics

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NEUROESTHETICS Def. Neuroesthetics (or neuroaesthetics) is a relatively recent sub-discipline of empirical aesthetics. Empirical aesthetics takes a scientx--ific approach to the study of aesthetic perceptions of art and music.


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Preface Introduction Section one Section two Section three Conclusion Bibliography

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I am not a neuroscientist, neither I am a philosopher, this essay must be seen more as leap of faith into an unknown. This is not an essay based on the end of theory, more a speculation of future theory that could arise from recent developments in the study of neuroscience and neuroesthetics (also named “neuroaesthetics”). Neither, to begin with, was this essay intentionally written to question the future of architectural theory, but more an exploration of interdisciplinary practice in architecture, in particular reference to neuroscience, whilst also considering how neuroscience could validate, or partially give weight to previous lines of theoretical enquiry based on Existentialism. Also to express the very apparent similarities between a phenomenological approach to architectural existentialism, and the neurological approach of rationalizing/analyzing data gathered from the brain. Though this has been a steep learning curve into areas unfamiliar to me, I hope to offer a valid exploration and coherent argument based on these themes. “I am convinced that there can be no satisfactory theory of aesthetics that is not neurobiologically based” (Zeki,S. 2009)

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I decided to explore this area whilst researching Phenomenology, an area that initially interested me, whilst researching the subject I discovered a book, “The Architects Brain” by Harry Francis Mallgrave (2010), the subject of the book is to explore the burgeoning studies of neuroscience in relation to architectural theory, a relatively recent line of enquiry that has been fuelled by the continuing advancements in neurobiology and neuroimagining, a key subdivision of this is “neuroesthetics.” Neuroesthetics is a scientific ideology; where by using the advancing knowledge of the brain we can study the aesthetic perceptions of the arts within the human consciousness, a theme I wish to discuss more the essay. The book, “The Architects Brain”, offers a general incite into architectural theory and neuroscience/neuroesthetics, the book also offers a brief history of existential approaches, drawing connections between current studies of neurology with previous thoughts and ideologies, from enlightened phenomenological thinkers such as Husserl,to more current theorists such as Pallasmaa. Through further research it became apparent that this is a flourishing area of research with there projects/interventions/ conferences/associations that have arising from the burgeoning study of neuroesthetics, in which similar research is flourishing, feeding off scientific advancements in neurology. Sectors unrelated directly to neurobiology are realizing the interdisciplinary potential of the neurological studies. This area of research seemed to strike more of a


chord with my own personal interests than the slightly abstract ideas of existentialism, where in particular I focused on phenomenology. At face value the two different approaches, one of more rational, scientific basis, and one of a more sensual study, may seem to contradict each other.However, after deliberating the two subjects together there seemed apparent connections that I felt could be explored; Is Neuroscience simply validating previously known intuitive knowledge, or does this validation of previous theory in itself justify further research of neurobiology for architectural purposes? Understanding the mind, the process of perception and interpretation of external bodies and spaces, is a key theme to both, phenomenology and neurobiology. Comparing these two juxtaposing approaches to architectural theory, of we as people, as human beings interpret the world will form the basis of my discussion. Within this essay I hope to explore these connections, speculating on how these new technologies should be used, if used at all within architectural research and architectural practice. Firstly (Section 1) I will contextualize the area of neurological research by giving a brief introduction to projects that are actively engaging with neuroscience and neuroesthetics, projects all of which vary in their form, approach and projected intentions. Including architecture based upon neurological research, mainly in the design of health centres. Then moving to relate these projects to architectural theory constructed on the foundations of phenomenology (Section 2), before linking this back into a discussion of interpretation and perception of our environment and external bodies (Section3), which I find the linking element to the neurological approach, and the phenomenological approach; finally concluding with how these theories may change of own perception of architectural theoryitself (Section 4). “Can the tools of brain science demonstrate a neurobiological basis for what architects have believed intuitively?� (John P. Eberhard muses in his forward to Inquiry By design; Environmental/Behavior/ Neuroscience in Architecture. 2006)


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I shall begin by offering a context to the current advancements in neurobiology, with the hope of offering an understandingin which technological progress has changed the outlook of what we consider ‘the mind’. We have recently, within the past decade seen major advancement in the understanding of the human brain, the scientific reasoning behind how our mind works. From sophisticated imagery devices that record the precise pulses of a working brain to a better understanding of the grey (and indeed white) matter. This increasingly detailed understanding of the mechanics of the mind, has lead to major insights into the nature of what we call the ‘mind.’ Previously intangible ideas of memory, consciousness, feelings, thinking, and creativity are becoming tangible, rationalized processes. (Mallgrave, H. 2010) This is allowing us to begin to answer metaphysical questions that have been speculated over since recorded time (Mallgrave, H. 2010). Advances in neuroimagining devices during the 1970/80s, eradicated the previous difficulty of studying the brain, meaning research became much easier, and much more prevalent (Mallgrave, H. 2010). Neuroscience became multi-disciplinary, branching into different


areas, coinciding with studies of mathematics, psychology, philosophy, medicine, physics and aesthetics. This mass of experimental literature led to a need of collaboration between differing protagonists of research. In 1999, Semir Zeki, a leading neurologist who had devoted 30 years to mapping the brain’s visual processing, proposed a tangent of research called “neuroesthetics”. Zeki, being one of the leading researchers in his field founded the Institute for Neuroaesthetics (IfN), the institute offers a platform for discussion amongst neurologists, artists and architects, though it would seem most of the work is only based in theory. A similar group, again mainly acting as a forum for neurobiological research is the Association of Neuroesthetic (AoN), similar to the Institute for Neuroaesthetics, it promotes discussion between research groups, and its members one of which is OlafurEliasson, the prominent artists takes an active role within the association. Continuing a long history of artist interest in the scientificdiscoveries of the brain. “Many artists have been inspired by scientific investigations and some have undertaken their own research. Leonardo is a shining example and others have included; Pierodella, Francesca, Brunelleschi, Delacroix, Seurat, Duchamp, and Mondrian.’ Says the IfN website (Institute for Neuroaesthetics, 2008) John P. Eberhard, writer of the foreword to an Inquiry by Design by John Ziesel, comments; “Not since the contributions made by physics at the end of the 19th century (structural design methods, acoustic design formulas, lighting calculations, etc) has science been so well prepared to expand the knowledge base available to the profession of architecture… Some observers have characterized what is happening in neuroscience as the most exciting frontier of human knowledge since the Renaissance” (Eberhand, J P.2006). Ziesel himself co-founded, alongside Eberhand, the ANFA (Academy of Neuroscience for Architecture) from where these comments are taken, the association strives to create a discussion between architecture and neurology, with the aim of constructing architecture reflective of neurological


advancements, in particular in the area of well being in health care. Ziesel himself is president of Hearthstone Alzheimer Care, his ongoing research into Alzheimer’s patients forms the basis for much of his work. Within an Inquiry by Design, he talks at length of how the amount of sunlight can affect the state of well being within the care centres, he also talks how the layout of these care centres. Ziesel suggests that architecture itself can have a profound effect on the mind, which is particularly apparent in Alzheimer’s patients (Ziesel, J.2006). Eberhard, during the foreword to Inquiry to Design discusses neonatal care; again suggesting environment can have a profound effect on premature infants, he comments “we know certain levels light and noise in neonatal units can interfere with critical sensory development in premature infants” (Ziesel, J.2006). Neurological research is already being used to good effect, however could this research possibly become more apparent in general architectural design, our day-to-day environments with which we interact? Or is there simply not the apparent need for this research to be incorporated into everyday design, limited only to specialist design of well being. Other forms of more experimental, conceptual and temporary explorations into the perception of environment have within the past decade begun to appear. UCL neuroscientist Dr Hugo Spiers collaborated with an artist (Antoni Malinowski) and an architect (Bettina Visman) to create an installation that examines how patterns of brain cell activity allow us to perceive and remember space. The film installation, ‘Neurotopographics’, is the end result of a year-long project inspired by the discovery of three types of cell found deep in the recesses of the brain which provide us with a mental map of space and direction. ‘Place cells’ provide a ‘you are here’ signal; ‘grid cells’ signal information about distances travelled; and ‘head direction cells’ provide an internal compass. (UCL 2008) ‘The discovery of these three types of cells has provided a fundamental insight into our relationship to space across science,


architecture and art. If you were to record from each of these cells as a person walked around a building you would get the sense of an integrated map and compass system representing the space surrounding that person (UCL 2008). The basis of this discovery has inspired this collaboration,� comments Dr Spiers. Visman comments: “Working with a neuroscientist for the last year has provided me with a more profound understanding of the scientific bases of spatial perception. This can not only inspire but also inform the design process, and help formulate ways of organizing space in architectural projects.� (UCL 2008) Though these projects are very capable of pushing forward the discussion of neurological related architecture and neuroesthetic, it would seem this discussion is yet to become more than just a discussion. To become something more existential and experiential, architecture that we can experience, this may just be due to the burgeoning status that the field of study adopts, it means, the present moment we can only speculate its potential use in architectural theory, speculation, a key theme to phenomenological theory. It would seem neurobiological research is on the brink of becoming more apparent within architectural theory.


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“What is phenomenology?” A question posed at the beginning of the preface to Merleau-Ponty’sPhenomenolgy of Perception (1962). Phenomenology is not an architectural style, but an architectural way of being (Kruft, H. 1994). “It would be fairly near the truth to say that existentialism is a compound of emotional and intellectual factors to an equal level”says MaryWarnock, in her over view of Existentialism (1970). Phenomenology is somewhere between thinking and feeling, or the lack of thinking to increase sensual experience within a give context, without analysis of your surroundings, a state of being where one considers no previous experience.(Mallgrave, H. 2010). Originally coined in the early twentieth century by Husserl, the definition of phenomenology has changed considerably since its first conception (Warnock, M. 1970).The ideology has been carried by other phenomenologicalprotagonists such as Heidegger and Merleau-Ponty. Husserl based his ideas on an internal cerebral view whilst later work by Heidegger and Merleau-Ponty introduced the idea of the body into Husserl’s cerebral definition of phenomenology this has become the present condition of the theory. (Mallgrave, H. 2010) “The body stands


between this fundamental distinction between subject and object, ambiguously existing” (Merleau-Ponty, M. 1962) Phenomenology, at its core became is a how we interpret our environment(Mallgrave, H. 2010) Throughout history since the age of enlightenment, existential ideas in reference to architecture tend to meander in and out of style. Mainly in relation to cultural trends or backlashes to other scientific processes of thought. If we can define phenomenology as and the phenomena which appear in acts of consciousness, (Mallgrave, H. 2010) I would argue that any act of perception or interpretation of feeling; such what we consider “beautiful” as acts of phenomenological enquiry. These boarder explorations of existentialism, for me, are profoundly important within architecture. Architecture is an experience of an environment, an environment that excites our every sense, sight, sound, smell, taste and touch, architecture should be able to engage these senses. A theory discussed by Pallasmaa, that we have become too dependant on the visual act in architecture, whereas architecture should be a complete sensory experience, engaging in our touch, sound, smell and taste. (Pallasmaa, J. 2005) Phenomenology attempts to establish conditions for the objective study of areas typically thought as subjective, such as, consciousness and the vast content of what is to be believed to be contained within our conscious, such as emotions, perceptions, and judgment. Although phenomenology has pretence towards scientific study in ideology, it does not attempt to study consciousness from the perspective of clinical neurology. Instead, phenomenological enquires act as systematic reflection to determine the essential properties and structures of consciousness and conscious experience. (Sokolowski, R. 2000) Phenomenology is the act/the sense of a place, reserved from interpretation or previous thought, though this would seem a difficult task to release all preconception of an environment, as it is a instinctual process, developed to anticipate possible on coming events(Mallgrave, H. 2010) To try to ignore these intuitions is to create a false sense of self-


being, to create an experience that is not contextualized by our previous experiences, though this seems very liberating, this must be understood to be a false phenomenological reality. Though I found the subject on phenomenology a difficult to grasp, after reading about the two subjects, it seemed to base most of its focus on the act of perception and interpretation, how we interact with our environment on a metaphysical level. As well as increasing our understanding of our environment on these metaphysical levels, within all of these areas, neurobiological research is pushing the boundaries of world we think to know, it would seem that neurobiological research is on the cusp of having major architectural influence.



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Perception and Interpretation “The taste of an apple ‌ lies in the contact of the fruit with a palette, not in the fruit itself: in a similar way poetry lies in the meeting of the poem and the reader, not in the lines of symbols printed on the pages of a book. What is essential is the aesthetic act, the thrill, the almost physical emotion that comes with reading.â€? Jorge Luis Borges (Mallgrave, H. 2010) Interpretation of the world is something that philosophers, as well as scientists, have strived to understand since the beginning of recorded time. From an intimate scale to something much larger, interpreting our standing in the universe as a whole. Our perception, or our individual interpretation is something that interests me intensely. Within neurobiology, many advances have been made towards understanding how we interpret the world, more a reflection of how we interpret, in contrast to the phenomenological approach of creating an idea of how we should interpret the world. It would seem representation of the world we interpret, within the mind, can vary between individual,


not just in an ideology, but on a biological level. Cognitive science is the interdisciplinary study of how information is represented and transformed in the brain, it seems that this process is extremely important to our perception, recent research has suggested that the brain breaks the image of a place into specific details, that are processed at different rates, at different places in the brain. (Zeki, S. 1999) It also suggests that an image is distorted by previous experiences and memories, this occurs before we begin to piece the whole image together. The power of the brain to produce representations of previous experiences can be shown in dreams. “The cerebral machine constructs mental representations because it contains, in its anatomical organization, in its neurons and synapses, representations of the world around us.” (Changeux, J. 1985) This means a theory of complete beauty can never be achieved, as our interpretations will be different because of our own different experiences. But it could also suggests that there could be generations gaps in how we interpret the external bodies and external environments (Mallgrave, H. 2010), if a certain generation has been exposed to a certain environment will have an effect on how they interpret the external world. It would also seem to suggest that they could be no complete theory of beauty, or of achieving aesthetic beauty, as it will change from individual to individual. It becomes a reflective act on one self, something phenomenology ideology is based around. It also suggests, that if an image of the external is processed at different rates, that there is no present state of being. “Being” is a neurological process, meaning perception is a process of breaking down an image or environment, this raises issue with phenomenological ideas of interpretation, where the whole is to be considered, or interpreted at once, this process cannot happen at once. Mallgrave also suggests “It is impossible to reduce the perceptual whole to a sum of individual parts, and perception is fundamentally an event of the entire organism, the body” (Mallgrave, H 2010). Meaning we must consider this process as one constant, the human body is always interpreting and reevaluating


the perceived whole. The body is constantly in relation to our environment or in relation to other organs, the same can be said for consciousness, an intentional act of interpretation. “The body is the fabric into which all objects are woven,” (Merleau-Ponty, M. 1962) is a present condition of phenomenology. In a biological sense this is correct, the mind and body are in fact one, the brain is the body, our body is directly experiencing the world through nerve endings, in our finger, and in our toes, the divide between body and mind should become blurred. The idea of how our mind represents the world, or how it interprets would seem to create difficulty when creating architectural theory based on how we perceive the world, what we “see” and experience of external bodies, is simply what our mind tells us we are experiencing. Zeki discusses the interpretation of colour; “We have a rough idea of the kind of operation that the brain must undertake to make itself independent of changes in wavelength composition in assigning colour to a surface, and thus a rough idea of its formal contribution to constructing colours… Colour, is a property of the brain, not the world outside. Through this operation the brain acquires knowledge about a certain property of objects. But this knowledge is not of the colour (since bodies have no colour) but of reflectance, namely the efficiency with which a surface is capable of reflecting light of different wavebands. Hence, though we perceive colour as a property of objects, colour is really the interpretation that the brain gives to that physical property of objects (their reflectance), an interpretation that allows it to acquire knowledge rapidly about the property of reflectance… It is in fact an acknowledgement of Kant’s (1783) statement in his Prolegomena that `The Mind does not derive its laws (a priori) from nature, but prescribes them to her.”(Zeki, S. 1999) Our interpretation of external conditions could be described as a neurologically created reality, based on previous thought, our conscious mind of judgment and the world we are actually interpreting, perception happens somewhere in the middle


Plasticity Another variable becomes present when we consider perception and interpretation. Recent discoveries in the area of brain Plasticity. Research suggests brain only 50% formed at birth, though the neurons of present; the connections of neural circuitry neuronshave not been made (Mallgrave, H 2010). These connections continue to develop until we die, though it is considered easier to change and mould these connections at an early age. Neurological research suggests that if an area of the brain is not utilized it can become redundant; to “reconnect” or engage these areas becomes more difficult as we age. “As neuroscientists, we believe that the brain is the organ that controls behavior, that genes control the blueprint, the design, ad the structure of the brain but the environment can modulate the function of genes, and ultimately the structure of the brain. Changes in the environment change the brain and our behavior.” This idea of plasticity creates a problem for any form of architectural theory, it would seem we are all influenced by are surrounds. If each individual has differing experiences of different environments, it would seem the ideal changes, dependant on the personal experience. “To summarize, I hypothesized that our ideal of, for example a house, is a synthesis of all the houses that we have seen. The ideal house cannot be easily matched in reality because the individual house commonly does not satisfy the brain’s synthetic concept, synthesized from many houses. In other words, the individual house commonly departs from the “ideal” house.” (Zeki, S 2010) This also connects a strange circle of interpretation; present environments can effect our future perception of environments, which in turn could change of interpretation of the next environment. If this distortion of perception can continue until we seize to exist, our basis of existential experience will also constantly change, rendering existential idea based on perception useless.


Understanding Further developments/advancements of technology will continue to change our perception of perception itself, or how we interpret the world, it must also be stated that with our advances of technology, our understanding will become greater, and this essay, and any other form of research could become outdated, and potentially ridiculed! However I find that (more than likely based upon my own experiences) that neurobiological research offers understanding and reasoning within an area that has only been considered speculatively before. It gives weight to these ideologies, creating a substantial basis for future creation of architecture. Neuroscience and neuroimaging can become tools, just as we use tools of post occupancy studies to assess how a person can feel within a space. What John Ziesel calls the Environmental/Behavior/Neuroscience paradigm, “the paradigm adds understanding of neurological and biological function to traditional psychological, sociological and anthropological environment-behavior knowledge.” (2006) “If you understand how people’s brains and minds develop and function in different situations, and how they evolved over time to respond to physical environments, then environments designed to support these capabilities as well as tasks, activities, and user needs, will contribute to people’s quality of life, life creativity and survival” (Ziesel, J. 2006) Understanding neurological research has the potential to offer a model of architectural design, something that Ziesel is already exploring, with the growing amount of discussion of neuroscience it would seem possible that more architects explore the avenues of neurological research.



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“Our brains are not computers, in fact, the non linear way in which the brain gathers and actively structures information could not be more different from the manufactured logic of a computer.�(Mallgrave, H. 2010) Though I fell neurological research id needed, it only seems to be highlighting the fact, that every individual id different, a phrase heard from early childhood, it would seem this phrase is entirely true. Innumerable psychological and philosophical approaches have been adopted since the beginning of recorded time when considering how human beings interpret the world, this new knowledge can become the foundations of giving evidence to these adopted stances, possibly proving ideas. However I am not sure, validation of previously intuitive ideas constitutes a theory based around neurology, it seems to offer the basis of research to validate previous thought. Looking back we can see patterns of theories being overtaken, outdated, reworked or adjusted into new ideologies, but what really changes the outlook of how we perceive the world is new technology.


New technology to base these theories on, when considering the romanticized idea of the sublime, this came as a backlash from the age of enlightenment, the dawn of many new technologies which enabled man to interpret the world in new ways, a gathering of knowledge, it must be thought that the rationalizing of consciousness and feeling almost dehumanizes, though we might be striving to tap into the being of a person, scientific analyze seems to offer a contradictive but ultimately invaluable knowledge, that could be used as a tool of architectural design. We can see looking back that similar forms become apparent and repeated throughout history, forms that have definition, or have even taken on symbolic reference to something, these are shapes and spaces that can evoke a response, these are intuitive architectural decisions, neurological evidence is not needed, but to consider shape alone is to consider the whole broken into parts. To applythis to any sensual action of perception, sound, taste, touch and smell, to research the architectural whole, more neurological research is needed to act as a tool for design. However I feel, this is all neurological research can ultimately only become, a tool for design, it cannot alone, become the basis for new architectural theory. However could this rationalized approach counter act the pragmatic approach of the 1990s, if architectural theory of existentialism can be quantified, maybe the theories become more valid? On a personal level, I tend to move towards a more pragmatic approach to design, however I feel existential ideology is something that pragmatics lacks in abundance paired with the iconic building structures seen within the past 30 years, what is needed is a return to person. By person I mean mind and body as one, how an architectural space can operate on an individual on all sensory levels. “Unable to find unequivocal answers to the meaning of his existence, he is likely to turn increasingly inwards and seek a meaning within himself � (Zeki, S. 1999)


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Mallgrave,H F. (2010)The Architects Brain: neuroscience, creativity, and architecture. Chichester, West Sussex, John Wiley and Sons. Eberhard, J P.(2006) Forword of; Inquiry By design; Environmental/ Behavior/Neuroscience in Architecture, Interiors, Landscape and Planning.California, USA, Norton & Company pp.11-13. Institute for Neuroaesthetics, (2008) Institute(Online) Retrieved on 27th April 2010 from: http://neuroesthetics.org/institute.php Academy of Neuroscience for Architecture, (2003-2010) About (Online) Retrieved on 27th April 2010 from: http://www.anfarch.org/about/ Eberhard, J P.(2006) Forword of; Inquiry By design; Environmental/ Behavior/Neuroscience in Architecture, Interiors, Landscape and Planning.California, USA, Norton & Companypp.11-13. Ziesel, J.(2006) Forword of; Inquiry By design; Environmental/Behavior/ Neuroscience in Architecture, Interiors, Landscape and Planning.


California, USA, Norton & Company pp. 13-16. UCL, (2008) Brain Art.(Online) Retrieved on 27th April 2010 from:http://www.ucl.ac.uk/news/news-articles/0801/08011601 Merleau-Ponty, M.(1962)Phenomenology of Perception. Suffolk, Routledge. Kruft, H (1994) History of architectural theory from Vitruvius to the present.London, Princeton Architectural Press. Warnock, M. (1970) Existentialism, Oxford, Oxford Paperbacks, Oxford University Press. Pallasmaa, J. (2009) The Thinking Hand, Chichester, East Sussex, John Wiley and Sons. Sokolowski, R. (2000) Introduction to Phenomenology, Cambridge,Cambridge University Press Zeki, S. (1999) Inner vision: an exploration of art and the brain, Oxford,Oxford University Press. Changeux, J P. (1985) Neuronal Man:the biology of mind, Chicester, West Sussex, Princeton University Press. Zeki, S. (1999)Splendours and miseries of the brain,Wellcome Department of Cognitive Neurology, University College London, Royal Society Journal (Online) Retrieved on 27th April 2010 from:http://www. vislab.ucl.ac.uk/pdf/splendours_and_miseries_of_the_brain.pdf Zeki, S.(2010)Parliament, the brain’s synthetic concepts and negative ideals, Blogspot. Retrieved on 27th April 2010 from: http://profzeki. blogspot.com/2010/03/parliament-brains-synthetic-concepts.html


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