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Review
Advance praise for The Age of Insight “Eric Kandel has succeeded in a brilliant synthesis that would have delighted and fascinated Freud: Using Viennese culture of the twentieth century as a lens, he examines the intersections of psychology, neuroscience, and art. The Age of Insight is a tour-de-force that sets the stage for a twenty-first-century understanding of the human mind in all its richness and diversity.”—Oliver Sacks, author of The Mind’s Eye and The Man Who Mistook His Wife for a Hat “In a polymathic performance, a Nobel laureate weaves together the theories and practices of neuroscience, art and psychology to show how our creative brains perceive and engage art—and are consequently moved by it. . . . A transformative work that joins the hands of Art and Science and makes them acknowledge their close kinship.”—Kirkus Reviews (STARRED)“A fascinating synthesis of art, history, and science that is also accessible to the general reader. A distinctive and important title that is also a pleasure to read”—Library Journal (STARRED)“Engrossing … Nobel-winning neuroscientist Kandel excavates the hidden workings of the creative mind. Kandel writes perceptively about a range of topics, from art history—the book’s color reproductions alone make it a great browse—to dyslexia. … Kandel captures the reader’s imagination with intriguing historical syntheses and fascinating scientific insights into how we see—and feel—the world.”—Publisher’s Weekly“A fascinating meditation on the interplay among art, psychology and brain science. The author, who fled Vienna as a child, has remained captivated by Austrian artists Gustav Klimt, Oskar Kokoschka and Egon Schiele, each of whom was profoundly influenced by Sigmund Freud and by the emerging scientific approach to medicine in their day … [calls] for a new, interdisciplinary approach to understanding the mind, one that combines the humanities with the natural and social sciences.”—Scientific American“Eric Kandel’s book is a stunning achievement, remarkable for its scientific, artistic, and historical insights. No one else could have written this book—all its readers will be amply rewarded.”—Howard Gardner, Hobbs Professor of Cognition and Education, Harvard Graduate School of Education “Eric Kandel’s training as a psychiatrist and his vast knowledge of how the brain works enrich this thoroughly original exploration of the relationship between the birth of psychoanalysis, Austrian Expressionism, and Modernism in Vienna.”—Margaret Livingstone, Professor of Neurobiology, Harvard Medical School “This is the book that Charles Darwin would have produced, had he chosen to write about art and aesthetics. Kandel, one of the great pioneers of modern neuroscience, has effectively bridged the ‘two cultures’—science and humanities. This is a task that many philosophers, especially those called ‘new mysterians,’ had considered impossible.”—V. S. Ramachandran, author of The Tell-Tale Brain“Eric Kandel has created a masterpiece, synthesizing brain, mind, and art like no one has before.”—Joseph LeDoux, NYU, author of The Emotional Brain and Synaptic Self“[This book] offers not only a stunning organic (in every sense of the word) view of fin de siecle culture but also opens new vistas in bioesthetics. It explores the often shocking neurology of the beautiful. And it shows how artist and scientist interlace in the common quest to discover the innards of reality. ‘I don’t render the visible,’ said Paul Klee, ‘I make visible.’ He echoed Edna St. Vincent Millay’s ‘Euclid alone looked on beauty bare.’ Eric Kandel is of that company.”—Frederic Morton“Nobel laureate Eric Kandel’s path-setting exploration of the connections between neuroscience and the painters Gustav Klimt, Egon Schiele and Oskar Kokoschka establishes a new frontier in the study of this all-important historical period. The shift toward a biological conception of self, which began in Vienna over a hundred years ago, has since decisively shaped our understanding of human nature.”—Jane Kallir, director, Galerie St. Etienne“With infectuous enthusiasm and limitless reverence for his multiple subjects, Kandel deftly steers the reader through a vast and inviting territory of science, the creative process, the mind, emotion, eroticism, empathy, feminism, and the unconscious. Years in the making, this highly readable book presents a magisterial study of brain, mind, and art.”—Alessandra Comini, University Distinguished Professor of Art History Emerita, Southern Methodist University
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About the Author
Eric R. Kandel is University Professor and Kavli Professor at Columbia University and a Senior Investigator at the Howard Hughes Medical Institute. Kandel is founding director of the Center for Neurobiology and Behavior at the College of Physicians and Surgeons of Columbia University, and recipient of the 2000 Nobel Prize in Physiology or Medicine for his work on memory storage in the brain. He is the author of In Search of Memory, a memoir that won a Los Angeles Times Book Award, and co-author of Principles of Neural Science, the standard textbook in the field. He was born in Vienna and lives in New York with his wife, Denise.
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Product details
Hardcover: 636 pages
Publisher: Random House; 1st edition (March 27, 2012)
Language: English
ISBN-10: 1400068711
ISBN-13: 978-1400068715
Product Dimensions:
6.6 x 1.6 x 9.5 inches
Shipping Weight: 2.8 pounds (View shipping rates and policies)
Average Customer Review:
4.4 out of 5 stars
131 customer reviews
Amazon Best Sellers Rank:
#91,732 in Books (See Top 100 in Books)
I found the first part of this book very interesting. It described two fascinating movements, developing in parallel and interacting with one another to some extent (including in ways not visible at the time), in Vienna at the start of the 20th century: one in medicine, especially psychology, headed by Sigmund Freud, and the other in art, headed by Gustav Klimt, Egon Schiele, and Oskar Kokoschka. I would have loved to pursue these developments and know more about the culture that spawned them.After that, however, the book takes an abrupt turn into brain biology—not surprising, in fairness, since author Kandel is a Nobel Prize-winning expert in neurobiology—and there it stays. First, Kandel examines exhaustively how the brain processes visual information to create what we think of as reality. (Obviously the other senses contribute to that picture as well, but Kandel does not discuss them.) He then builds on this to consider how the brains of viewers react to art, and he shows how Klimt, Schiele, and Kokoschka, among others, instinctively drew on those hard-wired patterns to make viewers respond emotionally to their work.How much you like this book will depend on how interested you are in that subject matter. Kandel explains his material clearly and is not overly technical; I believe that the book would be understandable to anyone who is used to doing science reading at the level of, say, Discover magazine or maybe Scientific American. However, I found it very dry, lacking the description of personalities and milieu that made the first part so intriguing. Somewhere in part 2 (of five) I gave up, concluding, as an apocryphal little boy is supposed to have said of a child’s science book that he got as a Christmas present: “It told me more about penguins than I wanted to know.â€
I am a retired historian, sociologist and philosopher of science who has followed the work of Eric Kandel since 1984, beginning with a sabbatical year attending the neuroscience lectures of Kandel and his colleagues in the basic medical course offered at the Columbia College of Physicians and Surgeons., and subsequently sitting in on the graduate course on neurobiology and behavior offered in his department.This is an excellent, but surprising, book. Its excellence has been documented by the many reviewers who agree with my five star rating. On the other hand, I would argue that a number of the book's negative reviews were written by persons who overlooked its very significant surprises, clearly stated in the book's closing chapter.Foremost among these is a very clear rejection of that form of reductionism known as eliminative materialism; the view that the "mentalese" vocabulary of folk psychology is fated to be replaced by the lexicon of a "mature neuroscience.""For every parent discipline such as psychology, the study of behavior, there is a more fundamental field, an anti-discipline -- in this case, brain science – that challenges the precision of the methods and claims of the parent discipline. Typically, however, the anti-discipline is too narrow to provide the more coherent framework or the richer paradigm needed to usurp the role of the parent discipline, whether it be psychology, ethics or law. The parent discipline is larger in scope and deeper in content and therefore cannot be wholly reduced to the anti-discipline, although it ends up incorporating the anti-discipline and benefitting from it. This is what is happening in the merger of cognitive psychology, the science of mind and neural science, the science of the brain, to give rise to a new science of mind.†p. 505Further, whereas Kandel, in a personal conversation early in 1985, held to a firm and somewhat threatening distinction of "studies of science" and "studies of scientists," severely denigrating the latter, in 2012, he opens the door for a well-informed sociology of science:"Rather than seeing a unified language and useful set of concepts connecting key ideas in the humanities and the sciences as the inevitable outcome of progress, we should treat the attractive idea of consilience as an attempt to open a discussion between restricted areas of knowledge. In the case of art, these discussions might involve a modern equivalent of (a Viennese salon) … artists, art historians, psychologists, and brain scientists talking with one another … in the context of new academic inter-disciplinary centers at universities." p. 506The passages I've quoted seem to pull the rug out from under many of Kandel's critics. Far from an imperialist neuroscience of art, he seeks to promote a tolerant conversation involving neuroscientists, artists and historians and philosophers of art.In the spirit of such conversation I might ask Kandel to clarify the nature, and direction, of the vectors of influence connecting Viennese painters at the turn of the 20th century and Harvard neuroscientists in the decades following WWII.
I was amazed to find a book that brought together - and updated - some of my oldest fascinations: the birth of depth psychology and the explosion of expressionist art in fin de siècle Vienna. In this brilliant synthesis, Kandel includes an introduction to the recent advances of cognitive neuroscience as related to both the perception of modern art and what it says about our brains. I discovered all of these things in college in the mid-1970s and was astonished at how the fields had changed and in a sense, came closer. For the reader interested in these disciplines, I cannot imagine a better book.Given the number of disciplines, the book goes in many directions. First, there is the historical context of 1900 Vienna: a cosmopolitan capital that was more or less welcoming to all the nationalities and religious groups. Though a major city, the intelligentsia was surprisingly close knit, even across disciplines. There were major salons where Freud could have met novelists and artists such as Klimt. According to Kandel, their works and interests were convergent.Second, there was psychoanalysis, which focused on the unconscious as a major factor in mental health as an aspect of the brain. Freud was, Kandel says, applying the scientific methodology under development at U Vienna: observe, hypothesize, verify. It was part of the movement to bring medicine into the hard sciences, though Kandel notes that many of Freud's ideas were intuitive speculation and limited by the times and his own inexperience, in particular his misunderstanding of women's sexuality.Third, Viennese artists were exploring the notion of the unconscious in their own way. On the one hand, pushing into new directions because photography had rendered realistic painting redundant, Klimt and then his acolytes Schiele and Kokoschka were experimenting with the portrayal and evocation of strong emotions, essentially inventing the mature form of Expressionism. Following the lead of Van Gogh and Munch, this involved the merging of Mannerism and caricature, with grotesque poses, strong colors, and flat backgrounds of color or design. (Kandel focuses a great deal on Kokoschka, who of the three never appealed to me personally, making a convincing case for his pioneering genius in terms of empathetic art in which the viewer is included.) On the other hand, local writers were experimenting with narrative, bringing the viewer in to participate in their fiction, much as the painters were doing.Fourth, Kandel covers related developments in cognitive neuroscience. The perspective is both historical and scientific. While this was the most difficult section for me, it was in many senses the most rewarding. Developing directly from Freud and his search for unconscious brain function, Kandel takes the reader through gestalt psychology - the ability of the brain to construct an understanding or image of the whole from a limited number of characteristics, as recognized in discreet aspects such as a straight line, color contrast, and ovals of the face. Once imaging techniques were perfected (PET and CAT scans from the late 1970s), detailed neurological maps could be constructed of how brains function in real time. This was a revolution in science that occurred after the elementary studies in psychology that I did in college. For example, consciousness is partially explained by a large number of areas in the brain acting in concert. Kandel also shows how the old Freudian model - of ego, superego, id, etc. - are actually located in a functional, dynamic map of the brain; I had no idea such a thing was possible.The book is not an easy read, but it helps if the reader is acquainted with the artists of the time, modern depth psychology, and the examination of the brain as a purely biological organ. It is at the high undergraduate level. The best thing about the book is that Kandel succeeds in tying it all together and calling for more research in neuroaesthetics. I cannot do justice to the subtlety and erudition of his arguments, but was spell bound throughout the entire book. Furthermore, I can't say that I have a full grasp of cognitive neuroscience, but it enhanced my appreciation for the art of the time and partially explains why all it began in Vienna in 1900. Finally, Kandel recognizes the contribution of Freud and clearly explains the deficiencies of psychoanalysis without going overboard as many critics do.I recommend this book with the greatest enthusiasm. It is a masterpiece of science popularization and art history.
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