For best experience please turn on javascript and use a modern browser!
uva.nl
Neuroaestetics and Neurocultures

Neuroaestetics and Neurocultures

This project belongs to the following research constellations:

Cultural & Social Critique

Coordinator:

Patricia Pisters

Participants:

 

Staff: Patricia Pisters, Julian Kiverstein, Stephan Besser

PhD candidates:   Tim Yaczo, Annelies Kleinherenbrink, Flora Lysen, Daisy van de Zande

 

 

Neuroaesthetics and Neurocultures

This research programme is dedicated to the critical and productive study of the rise of the neuro-turn from a humanities perspective. Some of the researchers in this constellation examine contemporary “neuroculture” from a philosophical perspective and question the implicit role of the brain in cultural discourses in relation to identity (gender, religion), free will and determinism. Other members of this group ask what can studying the brain tell us about art and film?  This question has become the target of a vibrant research programme within cognitive neuroscience known as “neuroaesthetics”.  However, so far a humanities perspective has been absent from this conversation, leading some scientists to make questionable framing assumptions about art and aesthetic experience. Our project will demonstrate three interlocking ways in which the humanities can contribute to the study of neuroaesthetics.  One strand of our project will mine the history of neuroscience to uncover an aesthetics of neuroscience. During its short history neuroscientists have appealed to a number of different models and metaphors in theorising how the brain works.  We will investigate how these models and metaphors have influenced, and been influenced by practices in art and film. The second strand in our project will use conceptual tools from the humanities to develop an aesthetic theory for neuroaesthetics. Cognitive neuroscientists assume that the questions that have occupied researchers in the humanities when they reflect on our engagement with art can be reduced to questions about the range of perceptual, affective and cognitive responses we undergo when we encounter works of art.  We agree with the general project of attempting to theorise the aesthetic through biology but we argue that what is so far missing in the scientific work is any recognition of the social, cultural and political dimensions of our biological embodiment.  A third synthetic strand of our programme will explore ways in which culture and brain form complex systems of influence, control and resistance to contemporary global conditions.

 

Activities/Output:

monographs, phds, expert meetings, seminars, conference, film programme  and exhibition