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Inner Vision: An Exploration of Art and the Brain, by Semir Zeki
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What is it that makes a work of art appear to us as beautiful? How do external form and internal perception coalesce to create the distinctive aesthetic pleasures we look to find in the visual arts? In Inner Vision, one of the founders of visual neuroscience, Semir Zeki, offers the first attempt to apply the science of vision to painting and sculpture, revealing how the conception, execution, and appreciation of the visual arts are all shaped by the anatomy of the brain.
Using a range of examples from artists including Rembrandt, Vermeer, Magritte, Mondrian, and Picasso, Zeki takes the reader on an illuminating tour of the way the brain sees, showing how its visual processing shapes art and our response to it. Vision, he writes, is designed to gather knowledge about the world around us, breaking down visual images into their basic components. He describes in fascinating detail how different areas of the brain respond to the basic visual elements, such as color, form, line, and motion, which are also basic elements of art. He further argues that all visual art is expressed through the brain and, whether the artist realizes it or not, must therefore mirror the workings of the brain. Beauty may not be in the eye of the beholder, strictly speaking, but it most certainly is in the brain of the beholder. And Zeki argues that no theory of aesthetics will be complete unless it is substantially based on the activity of the brain.
Beautifully illustrated and vividly written, Inner Vision takes an important first step toward providing a scientific theory of aesthetics.
- Sales Rank: #1197378 in Books
- Brand: Oxford University Press, USA
- Published on: 2000-02-17
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: 9.60" h x .80" w x 6.50" l,
- Binding: Hardcover
- 240 pages
- Used Book in Good Condition
Amazon.com Review
Why do we find it hard to explain why art is beautiful? Perhaps it is because the visual system of the human brain is much more developed than its language centers, as it has had far longer--millions of years--to evolve. Semir Zeki believes that we can only reach a better understanding of art as we learn more about the operations of the visual brain.
Zeki demonstrates that the simple act of seeing is a profoundly artistic activity. Separating out the mass of geometrical and spectral information received through the eye to arrive at a visual perception is a complex and creative process. Zeki traces the functional similarities of the artist and the seeing brain. "Just as the brain searches for constancies and essentials," Zeki writes, "so does art.... It is those attributes of vision [to which] the brain has assigned specialised processing systems ... that have primacy in art. Among those one can include colour, form, motion, faces, facial expressions and even body language."
Zeki's examples are varied and convincing. For example, he explores the relationship between modern works that have emphasized lines and the reaction of cells in the brain that work on lines of specific orientation. More ambitiously, he even outlines the neurological bases of Fauvism and Cubism!
T.S. Eliot said that using language to discuss art was "a raid on the inarticulate, with shabby equipment." In Inner Vision, that pejorative statement acquires a heroic mantle: no artist worth the name and no one who enjoys visual beauty can afford to ignore the insights contained in this book. --Simon Ings, Amazon.co.uk
Review
"Rigorous and stimulating." -Times Literary Supplement, 11/3/00
About the Author
Semir Zeki is a research scientist at the Wellcome Cognitive Neurology Unit of the University College, London. An eminent neurologist, he is the author of the popular A Vision of the Brain. He lives in the United Kingdom.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Five Stars
By Human Being
Samir Zeki is a genius
53 of 67 people found the following review helpful.
this has little to do with art
By drollere
as someone with a doctorate in psychology who has retired to a life of intensive painting, i can say this book falls short in its fundamental premise: if we can identify a distinct visual capability in the brain, that capability forms the basis for visual esthetic judgments. that argument unfortunately goes nowhere, and the result is a thin book with its substantive content spread even thinner.
zeki's argument is roughly that the mind is an active creator of visual experience; that we create visual experience using a variety of "modular" cerebral functions (specific neighborhoods of the brain that detect edges, analyze movement, perceive color, recognize faces); and that art works which "appeal" to these modular capabilities provide the foundation for art. claims that art that becomes "great" if the mind is presented with ambiguous or multiple interpretations, provoking it to "actively create" varied interpretations from the work in view. in this way zeki hopes to reason his way toward a "neurological esthetics," a biologically based prescription of what is beautiful or compelling art.
well, where to begin ... because a brain function is invoked by a stimulus does not make it interesting or great; my review invokes your language capabilities, but that doesn't make my words poetry. a painting does not succeed by creating a variety of specific but competing interpretations, as zeki claims, but by reframing awareness into a realm where the mundane categorizations necessary for behavior are stretched by the exercise of the senses. what counts as beautiful cannot be determined from the quantitative activity of different brain regions. what counts as beautiful depends heavily on cultural expectations, not on physiology ... on and on the objections roll.
in the end, zeki's argument is highly parochial. his examples come from the "edge detection" art of the supremacists or the cubists; the "color perception" art of the fauves, the "movement perception" art of calder, and so on -- simplistic art for simplistic art theories. (someone should ask, where are the edges in monet or turner, the color in kline or velazquez, the movement in vermeer or van dyck?) on the philosophical side, zeki seems willing to cite plato or hegel as straw men to knock down, but seems completely unaware of the many philosophical or social psychological theorists who could enrich his "active construction" view of visual perception. finally, zeki seems not to have had a personal colloquy with practicing artists, who could disabuse him of his naive reading of western art and its traditions.
psychologists will find this book to be unexpectedly thin on the facts of recent neural research and cognitive function, and lacking in philosophical depth. artists will look at zeki's simplistic reading of art and art history, shrug and wonder, what is this guy talking about?
0 of 0 people found the following review helpful.
A Most Interesting Start on a Most Interesting Topic
By T. Campbell
As one only recently introduced to this line of research literature, I find this book most interesting, although, as states the author, we are only at the foremost front of understanding the links between art and the brain. While professional psychologists may find it a bit thin, for this noninitiate, it is a delightful read. I challenge those professionals with complaints to get their material into print in a package as readable as this so that we can have a more up-to-date understanding of where this line or research is today. This book summarizes information up to 1999 - about 9 years ago.
I would like to see a synthesis of what is known about eye movements, the perceptual system, and the satisfaction/pleasure/satiation - maybe even addiction - neural pathways and the artistic product. With the constantly improving scanning techologies, it must be possible to look more deeply and thoroughly into what the brain is doing when producing or viewing art. It seems from Zeki's text, that the specialized visual perceptual centers and their activation parameters are not adequate to address how viewers and artists arrive at feelings of satisfaction or pleasure from a 2-D artistic product.
And what are the brain organization criteria that may have lead to the modern approaches that correlate to the specific perception centers' activation anyway? Have brains evolved ever so slightly enough that some few persons (artists) have higher than normal concentrations of neurons in one or more of those centers, the activations of which lead with increased probabilities to links to satisfaction centers, as an explanation for developments in the arts in the last few centuries?
Anyway, this book is a daring attempt to move the field toward more answers to questions that intrigue this reader a great deal. It needs to be updated.
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