NEUROAESTHETIC / Fine Art Project Portfolio

NEURO AESTHETIC FMP15 Fine Art

Visual Artist YULIA TARELINA painting prints sculpture photography & video

ARTIST STATEMENT T

oday, neuroscience is a very investigative field which attract as my own attention and a global science development.

This is the point of not only the natural science but also humanities and creative forces. This interdisciplinary integration is the path to the future. Neuroscience is a common term but for me, it already means a new reality. As a consequence, in FMP I try to analyze some incredible direction as influence of sound on the brain, brain waves frequency, vibration, and law of neuroaesthetics.

I also draw parallels between nature and human nature through binaural beats meditation techniques , and will try to determine that all is interconnected in our world

from microcosm inside of us to the whole universe in general.

The final outcomes for the project contains a series of work in different media such as sculpture, prints and digital media which represent the above theme.

I have encouraged to explore contemporary context, respond to changing culture and reflect on my own position as creative force. I believe in conceptual art as not only the way of expressing artistic vision, but also as developed artist’s ideas, interest ,thoughts and personal direction through both process and critique. This opportunity is attempt to try to clearly explain though the concept and aims of my Final Main Project.

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CONTENTS Introduction

Context

Research development Brain Neuron MRI Frequency/brain waves Cymatics Neuroaesthetics

Conclusion

Bibliography

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INTRO N

euroscience tells us that products of the mind thought, emotions, artistic creation - are the result of the interactions of the biological brain with our senses and physical world.

In my Final Project I will explore the connections between neuroscience and art and will try to define the influence of neuroscience findings into the public consciousness as “neuroculture.�

We see the dialogue between these two creative fields. It is understandable and valuable for society that artists are interpreting findings from neuroscience laboratories and making them more accessible to the general public in their conversion to art objects.

CONTEXT

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ecent technology offers an unprecedented opportunity to see what millions of humans before us have not been able to see a living brain and its activity. This phenomenon is at once discomforting, exciting, and provocative. We are seeing something that perhaps we feel we shouldn’t. The brain is vital to our existence, and yet, in an exposed state, it is so vulnerable. It is ironic that we use our brains to figure out how the world around us works, and yet the workings of our own brains remain unseen and unknown without the aid of technological equipment. It is no wonder that we crave the clues that scientific images can provide about the brain and its inner workings.

I have a deep-seated feeling that the mind is more than the sum of its parts, and I think the richness of intuitive and internally-driven artistic exploration in FMP feeds my desire to understand the living brain.

RESEARCH DEVELOPMENT

BRAIN

• Neuron T Frequency/ brain waves

MRI • Cymatics

BRAIN

The brain, as seen through the lens of art.

This is the approach that believes art to be a valuable lens through which to observe and understand subjective, first-person consciousness in the brain. In other words, it’s interesting to study the brain during an artistic experience,and we understand the general architecture of the brain, maybe we actually need to

look at the art itself as a unique mirror of the internal landscapes of subjective experience,maybe in order to break new ground on understanding what goes on inside those areas. We’ll need to look more closely at how different modes and styles of art are true reflections of the neural landscapes they emerged from.

MRI F

MAGNETIC RESONANCE IMAGING

rom artistic point of view, a series of fMRI ‘brain states’ uncover the often hidden decisions and processing procedures that contribute to brain images and that will help to question and qualify what a brain image does and does not show. The fact that the brain is always embodied within a physical body that is also always coupled to a larger social and natural environment.

In question are the ways neuroimages suggest broader personal and societal meanings, and are often interpreted as yielding substantial real-world conclusions.

NEURON

FREQUENCY B

eing an electric field, all overlying electric wave patterns that comprise our brain waves are governed by the same equations governing the electromagnetic spectrum, light,particles and everything else in universe. the light seen coming from a star and the energy of our mind are one and the same type. Our thoughts are formed in this electrical field. The measurable perturbations and disturbances in the brain’s overall electric field are our actual thoughts racing through our mind. So, thoughts are energy, the same as everything else.

The higher the frequency of our thoughts/brain wave, the higher our consciousness. The level of our consciousness is what makes our reality what it is and what it will continue to be.

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CYMA

ATICS

NEUROAESTHETICS

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hat is art, why has it been such a conspicuous feature of all societies, and why do we value it so much? The subject has been discussed at length without any satisfactory conclusion.

This is not surprising. Such discussions are usually conducted without any reference to the brain, through which all art is created, executed and appreciated. Art is a human activity and, like all human activities, including morality, law and religion, depends upon, and obeys, the laws of the brain. We are still far from knowing the neural basis of these laws, but spectacular advances in our knowledge of the visual brain allows us to make a beginning in studying the neural basis of visual art.

Neuroaesthetics is a new field of research emerging at the intersection of psychological aesthetics, neuroscience and human evolution.

The main objective of neuroaesthetics is to characterize the neurobiological foundations and evolutionary history of the cognitive and affective processes involved in aesthetic experiences and artistic and other creative activities.

Neuroaesthetics provides a radical new way of looking at art. It sheds light not only on the art itself, but how we perceive the world and the beauty therein. It gets down to the very deepest philosophical discussions about perception and art.

But what in the brain triggers aesthetic experiences? And how does knowledge of basic brain mechanisms inform our understanding of these experiences? These questions are at the heart of an emerging discipline dedicated to exploring the neural

processes underlying our appreciation and production of beautiful objects and artwork, experiences that include perception, interpretation, emotion, and action. This new field represents a convergence of neuroscience and empirical aesthetics—the study of aesthetics rooted in observation— and is dubbed neuroaesthetics, a term coined in the 1990s by vision neuroscientist Semir Zeki of University College London.

Neuroaesthetics is both descriptive and experimental, with qualitative observations and quantitative tests of hypotheses, aimed at advancing our understanding of how humans process beauty and art. In such a study neuroscientists would do well to exploit what artists, who have explored the potentials and capacities of the visual brain with their own methods, have to tell us in their works.

Because all art obeys the laws of the visual brain, it is not uncommon for art to reveal these laws to us, often surprising us with the visually unexpected. Paul Klee was right when he said, “Art does not represent the visual world, it makes things visible.”

I hope that the enormous international enthusiasm that a study of the neural basis of aesthetic experience has generated will prove an effective catalyst in encouraging the neural study of other human activities that may seem remote from the general discipline of neurobiology. It is only by understanding the neural laws that dictate human activity in all spheres – in law, morality, religion and even economics and politics, no less than in art - that we can ever hope to achieve a more proper understanding of the nature of man.

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CONCLUSION

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he arts can provide new models, sorely needed by the neurosciences, to visualize, interpret, and study this highly complex inner world. These models and interpretations can surely aid in empirical research. But the crucial interaction between art and science can be in the education and inspiration of a new generation of scientific humanists, whose creativity will be needed to answer some of our deepest and toughest questions. This is the approach that believes art to be a valuable lens through which to observe and understand subjective, first-person consciousness in the brain.

BIBLIOGRAPHY ROGER PENROSE The Nature of Space and Time (with Stephen Hawking, 1996, ISBN 0-691-03791-4 (hardback), ISBN 0-691-05084-8 (paperback)) THE LARGE, THE SMALL AND THE HUMAN MIND (WITH ABNER SHIMONY, NANCY CARTWRIGHT, AND STEPHEN HAWKING, 1997, ISBN 0-521-56330-5 (hardback), ISBN 0-521-65538-2(paperback), Canto edition: ISBN 0-521-78572-3) RICHARD BUCKMINSTER FULLER Synergetics: Explorations In The Geometry Of Thinking, Inc. (1975) DAVID EAGLEMAN Incognito: The Secret Lives of the Brain, Pantheon Books, 2011 STEPHEN S. HALL Wisdom: From Philosophy to Neuroscience TOR NORRETRANDERS The User Illusion (1998), ISBN 0-670-87579-1 (English edition of “Mærk verden”) DANIEL J.SIEGEL https://www.mindsightinstitute.com/ NEWSCIENTIST MAGAZINE http://issuu.com/search?q=newscientist NEUROVIS http://www.neurovis.com/#about TED Talks http://www.bbc.co.uk/schools/gcsebitesize/science/add_ocr_pre_2011/brain_mind/ informationrev1.shtml ATHENE’S THEORY OF EVERYTHING THE HUMAN BRAIN (full documentary)HD http://www.theguardian.com/science/neuroscience http://www.sfn.org/

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