The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain from 1900 to the Present. By Eric B. Kandel

Evaluating emotional and social interactions in museum liminal spaces: A case study of the National Museum of the Islamic Revolution and Holy Defense of Tehran, Iran

“…For use in the architecture field, neuroscience and cognitive psychology, through the relationship among shapes, objects, and emotions, help explain an individual's preference for an artificial environment that is affected by many variables (including exposure, familiarity, symmetry, contrast, and complexity; Raymond & Sharot, 2014). These studies have been presented in books such as The Aesthetic Brain (Chatterjee 2015), The Age of Insight (Kandel 2012), Feeling Beauty (Starr 2013), and Experiencing Art: In the Brain of the Beholder (Shimamura 2015), and so forth. Robinson and Pallasmaa also describe the application of neuroscience to architects in their book Mind in Architecture (Robinson and Pallasmaa 2015).…”

Disociaciones en la interpretación de lo moderno en la ciudad

“…El enfoque también estuvo en lo perceptible caminable y visualmente. Entiendo y comprendo los peligros que puede llevar entender la experiencia desde un solo sentido, pero el 50% de la información sensitiva que va al cerebro es visual (Kandel, 2012) lo que permitiría una primera aproximación para desarrollar estudios que impliquen el enfoque desde una perspectiva multisensorial. Por otro lado, se priorizó el desplazamiento a pie, pues es el más común en la ciudad y es el tipo de movilización que ejercían los jóvenes adultos al ser entrevistados.…”

Gustav Klimt’s The Kiss—Art and the Biology of Early Human Development

“…2 Neuroscientist and Nobel Laureate Eric Kandel and art historian Susanna Partsch have also read sexual forms into the patterns on the lover's garments, contrasting spermlike elements on the man's cloak with ovoid counterparts on the woman's dress. 1,3 These observations suggest Klimt might have been familiar with human biological structures. Indeed, Klimt was part of the Viennese Modernist community at the turn of the 20th century, which emphasized cross-fertilization between the arts and sciences.…”

“…Indeed, Klimt was part of the Viennese Modernist community at the turn of the 20th century, which emphasized cross-fertilization between the arts and sciences. 3 Artists, writers, physicians, scientists, and journalists moved in small, tight-knit, interconnected circles 3 in private salons and in-home gatherings, which provided a fertile ground for interdisciplinary communication. Klimt attended salons held by writer Bertha Szeps-Zuckerkandl, who championed Klimt's work and whose husband Emil Zuckerkandl, chair of anatomy and pathology at the University of Vienna, held scientific lectures for artists.…”

“…But Bertha Szeps-Zuckerkandl mentioned that the source of biological motifs Klimt used were based on Haeckel's publications. 6 Klimt would have been inspired by the forms rather than trying to reproduce them, and he had employed biological icons previously, [3][4][5][6] Klimt understood the position of human existence within the animal kingdom following Darwin's theory of evolution and the importance of processes of reproduction as observed in living creatures. He painted the entire life cycle including conception, pregnancy, birth, adolescence, the aging adult, and death.…”