In her new book Art and the Brain: Plasticity, Embodiment and the Unclosed Circle, author Amy Ione offers a profound assessment of our ever-evolving view of the biological brain as it pertains to embodied human experience. She deftly takes the reader from Deep History into our current worldview by surveying the range of nascent responses to perception, thoughts and feelings that have bred paradigmatic changes and led to contemporary research modalities. Interweaving carefully chosen illustrations with the emerging ideas of brain function that define various time periods reinforces a multidisciplinary framework connecting neurological research, theories of mind, art investigations, and intergenerational cultural practices. The book will serve as a foundation for future investigations of neuroscience, art, and the humanities.
Keynote lecture for Off the Lip 2015 conference at Cog Novo: Transdisciplinary Approaches to Cognitive Innovation: Conference from 9-11 Sep 2015. The lecture introduces ideas from Ione’s forthcoming book, Art and the Brain: Plasticity, Embodiment, and the Unclosed Circle see www.diatrope.com/artbrainbook.
Representation in Scientific Practice Revisited Reviewed by Amy Ione
Representation in Scientific Practice Revisited offers an explicit sequel to the discussion featured in the 1990 book Representation in Scientific Practice . I use the word sequel because this more recent volume is not an update so much as an effort to show that the questions surrounding representation inhabit a quite different theoretical and conceptual landscape 25 years later.
The 1990 book grew out of a workshop on “Visualization and Cognition” held in Paris in 1983 . Although a compilation of already published articles, the book is now remembered as a contribution that helped to coalesce the late 20th century discourse on scientific visualization among historians, philosophers, and sociologists of science on visualization and representation. In some ways it was also representative of how Kuhnian paradigms had changed thinking. Thomas Kuhn introduced paradigmatic thinking in his 1962 book The Structure of Scientific Revolutions . His thesis about distinctive ways of thinking in historical eras, in turn, laid the foundation for a focus on scientific context and a more nuanced approach to ideas and practices. With the first Representations volume it was clear that the discussion had shifted accordingly and included enhanced sensitivity to how humanists and social scientists perceived and modeled reality. Within this framework, epistemological thinking and practices were elevated.
The second volume demonstrates that this sea change brought about a focus on ethnographic studies within Science and Technology Studies (STS). The systematic study of scientists working and the environments in which they practice is so predominant in the articles of the second volume that an unacknowledged subtheme of the book is the degree to which practices within environments are now representative of what Kuhn might call a “normal” approach in historical, humanistic, and sociological investigation. Indeed, as author after author explained the design of his or her ethnographic study it is hard to miss how standardized the approach is. No doubt this is why some of the authors ask if the time is ripe for a shift from an epistemological to an ontological treatment of the representations concept.
Representation in Scientific Practice Revisited itself is comprised of 14 lengthy papers primarily by younger scholars and seven brief, reflective pieces by established academics.
Iraqi-born artist Wafaa Bilal’s exhibition Wafaa Bilal: 168:01at the Art Gallery of Windsor addresses the cyclical history of violence against cultural institutions, and libraries in particular, during times of war and conflict. It is composed of a central bookshelf that occupies most of the gallery space. The shelves are filled with white books. As the exhibition progresses through a subtle durational performance, the white books will be replaced with donations of real books that were torched at the library of the College of Fine Arts, University of Baghdad.
The exhibition is linked to a Kickstarter campaign to replace all 1,000 blank books in the exhibition with educational texts. At the end of the exhibition, all of the texts will be shipped to the College of Fine Arts in Baghdad, beginning the process of rebuilding their library.
The Department of Audio and Visual Arts of the Ionian University organizes a two-day interdisciplinary conference with theoretical and artwork presentations under the theme of “Taboo – Transgression – Transcendence”, focusing on questions about the nature of the forbidden and the liminal as expressed in science and art.
The interview with Amy Ione, Director of the Diatrope Institute, is now included in the Interviews from Yale University Radio (WYBCX) index of The Art World Demystified, Hosted by Brainard Carey. It is available at http://museumofnonvisibleart.com/interviews/amy-ione/. This collection is an oral history of the Lives of the Most Excellent Artists, Curators, Architects, Critics and more, like Vasari’s book updated.