Elizabeth Johnston

Seeing comes before words. The child looks and recognizes before it can speak. — John Berger

Psychologists and neuroscientists have long been interested in measuring and explaining the phenomena of visual perception. In this course, we will study how the visual brain encodes basic aspects of perception—such as color, form, depth, motion, shape, and space—and how they are organized into coherent percepts, or gestalts. The main goal will be to explore how the study of visual neuroscience and art can inform each other. One of our guides in these explorations will be the groundbreaking gestalt psychologist Rudolf Arnheim, who was a pioneer in the psychology of art. The more recent and equally innovative text by the neuroscientist Eric Kandel, Reductionism in Art and Brain Science, will provide our entry into the subject of neuroaesthetics. Throughout our visual journey, we will seek connections between perceptual phenomena and what is known about brain processing of visual information. This is a course for people who enjoy reflecting on why we see things as we do. It should hold particular interest for students of the visual arts who are curious about scientific explanations of the phenomena that they explore in their art, as well as students of the brain who want to study an application of visual neuroscience.

In recent decades, dialogues among architects, designers, psychologists, and neuroscientists have markedly increased in frequency, leading to the creation of a new field of interdisciplinary study: neuroarchitecture. The formation of the Academy of Neuroscience for Architecture in 2002 intensified and facilitated these communications across disciplinary boundaries. The architecture-neuroscience conversation is productive in both directions. Advances in contemporary understanding of the neural dynamics of constructive perception can inform architects; for example, mapping of neural pathways can provide points of access to the variety of largely unconscious processes that contribute to humans’ responses to the built environment. On the other hand, consideration of the complexities and specificities of buildings created by architects, engineers, and builders encourages neuroscientists and psychologists to advance their understandings of how a host of cognitive and emotional processes are integrated. The study of the responses of brains and bodies to buildings brings together work on sensory perception, attention, emotion, imagination, memory, planning, spatial navigation, aesthetics, and language. We will listen in on these lively architecture-neuroscience conversations by sampling from the wealth of new cross-disciplinary writings, such as Ann Sussman and Justin Hollander’s Cognitive Architecture: Designing for How We Respond to the Built Environment and Michael Arbib’s When Brains Meet Buildings: A Conversation Between Neuroscience and Architecture. A vital component of this course will be furthering the conversation by applying the concepts discussed in our readings to our own lived experience of the built environment. Many of the examples presented in weekly lectures will come from the instructor's experiences with the cities of New York and Edinburgh. The examples that students bring to our weekly seminars will draw on their own lived experience of diverse environments. Throughout the semester, we will explore how the design of healthy, sustainable buildings can enhance well-being.

Mindfulness can be described as the awareness that arises from paying attention to the present moment in a nonjudgmental way. For thousands of years, mindfulness has been cultivated through the practice of meditation. More recently, developments in neuroimaging technologies have allowed scientists to explore the brain changes that result from the pursuit of this ancient practice, laying the foundations of the new field of contemplative neuroscience. Study of the neurology of mindfulness meditation provides a useful lens for study of the brain in general, because so many aspects of psychological functioning are affected by the practice. Topics will include: attention, perception, emotion and its regulation, mental imaging, habit, and consciousness. Students interested in the scientific study of the mind and body may be interested in this course. An important component of the course will be the personal cultivation of a mindfulness practice; to support this goal, one of the two weekly course meetings will be devoted to a mindful movement practice.

Seeing comes before words. The child looks and recognizes before it can speak. —John Berger

Psychologists and neuroscientists have long been interested in measuring and explaining the phenomena of visual perception. In this course, we will study how the visual brain encodes basic aspects of perception—such as color, form, depth, motion, shape, and space—and how they are organized into coherent percepts or gestalts. Our main goal will be to explore how the study of visual neuroscience and art can inform each other. One of our guides in these explorations will be the groundbreaking gestalt psychologist Rudolf Arnheim, who was a pioneer in the psychology of art. The more recent and equally innovative text by the neuroscientist Eric Kandel, Reductionism in Art and Brain Science, will provide our entry into the subject of neuroaesthetics. Throughout our visual journey, we will seek connections between perceptual phenomena and what is known about brain processing of visual information. This is a course for people who enjoy reflecting on why we see things as we do. It should hold particular interest for students of the visual arts who are curious about scientific explanations of the phenomena that they explore in their art, as well as students of the brain who want to study an application of visual neuroscience. In this large seminar, you will meet weekly in small groups (five-to-seven students) to design a collaborative conference work that curates an in-depth perceptual museum tour. Individual conference meetings will be held only twice over the course of the semester.

The perceiving mind is an incarnated mind. —Maurice Merleau-Ponty, 1964

Sensory perception is a vital component of the creation and experience of artistic works of all types. In psychology and neuroscience, the investigation of sensory systems has been foundational for our developing understanding of brains, minds, and bodies. Recent work in brain science has moved us beyond the Aristotelian notion of five discrete senses to a view of the senses as more various and interconnected—with each other and with the fundamental psychological processes of perception, attention, emotion, memory, imagination, and judgment. What we call “taste” is a multisensory construction of “flavor” that relies heavily on smell, vision, and touch (mouth feel); “vision” refers to a set of semi-independent streams that specialize in the processing of color, object identity, or spatial layout and movement; “touch” encompasses a complex system of responses to different types of contact with the largest sensory organ—the skin; and “hearing” includes aspects of perception that are thought to be quintessentially human—music and language. Many other sensations are not covered by the standard five: the sense of balance, of body position (proprioception), feelings of pain arising from within the body, and feelings of heat or cold. Perceptual psychologists have suggested that the total count is closer to 17 than five. We will investigate all of these senses, their interactions with each other and their intimate relationships with human emotion, memory, and imagination. Some of the questions that we will address are: Why are smells such potent memory triggers? What can visual art tell us about how the brain works, and vice versa? Why is a caregiver’s touch so vital for psychological development? Why do foods that taste sublime to some people evoke feelings of disgust in others? Do humans have a poor sense of smell? Why does the word “feeling” refer to both bodily sensations and emotions? What makes a song “catchy” or “sticky”? Can humans learn to echolocate like bats? What is the role of body perception in mindfulness meditation? This is a good course for artists who like to think about science and for scientists with a feeling for art. This is a collaborative course, with small-group meetings held weekly in addition to the individual conference meetings held every other week. The main small-group collaborative activity is a sensory lab in which students will have the opportunity to explore their own sensory perceptions in a systematic way, investigating how they relate to language, memory, and emotion. Other group activities include mindful movement and other meditation practices for stress relief and emotional regulation, as well as occasional museum visits if these can be done safely.

Mindfulness can be described as nonjudgmental attention to experiences in the present moment. For thousands of years, mindfulness has been cultivated through the practice of meditation. More recently, developments in neuroimaging technologies have allowed scientists to explore the brain changes that result from the pursuit of this ancient practice, laying the foundations of the new field of contemplative neuroscience. Study of the neurology of mindfulness meditation provides a useful lens for study of the brain in general, because so many aspects of psychological functioning are affected by the practice. Some of the topics that we will address are attention, perception, emotion and its regulation, mental imaging, habit, and consciousness. This is a good course for those interested in scientific study of the mind.

Mindfulness can be described as nonjudgmental attention to experiences in the present moment. For thousands of years, mindfulness has been cultivated through the practice of meditation. More recently, developments in neuroimaging technologies have allowed scientists to explore the brain changes that result from the pursuit of this ancient practice, laying the foundations of the new field of contemplative neuroscience. Study of the neurology of mindfulness meditation provides a useful lens for study of the brain in general, because so many aspects of psychological functioning are affected by the practice. Some of the topics that we will address are attention, perception, emotion and its regulation, mental imaging, habit, and consciousness. This is a good course for those interested in scientific study of the mind and body. An important component of the course is the personal cultivation of a mindfulness practice; to support this goal, one of the two weekly course meetings will be devoted to a mindful movement practice.

Why are movies so compelling to us? When you think about it, it is odd to spend so much time sitting still in a chair, in the dark, staring at a flat screen and watching flickering light without the possibility of interacting with the depicted characters or affecting their actions in any way. Philosophers argue that movies tap into our dream mechanisms. Psychologist Ed Tan calls films “emotion machines.” Neuroscientist Jeffrey Zacks claims that movies hijack evolutionary mechanisms of mind that evolved for other purposes. In this perceptual psychology course, our focus will be on how study of fundamental faculties of mind and body—perception, attention, emotion, and memory—can inform our experience of viewing and, perhaps, making movies. Switching our point of view, we will also investigate how the study of film can advance our understanding of the workings of perception, attention, emotion, and memory. We will watch some films together and discuss clips from many others that you select and present to the seminar group. This is a good course for people who are interested in interdisciplinary work that integrates artistic and scientific approaches to the material at hand. The course format is a small lecture (30 people), with one lecture and one small seminar (10 people) every week.

The perceiving mind is an incarnated mind. —Maurice Merleau-Ponty, 1964

A great deal of brain activity is devoted to the processing of sensory information from both the outside and the inside of the body. Although, following Aristotle, we traditionally conceive of the senses as five discrete systems, they are more various and interconnected than this view suggests: What we call “taste” is a multisensory construction of “flavor” that relies heavily on “smell.” “Vision” refers to a set of semi-independent streams that specialize in the processing of color, object identity, or spatial layout. “Touch” encompasses a complex system of responses to different types of contact with the largest sensory organ, the skin. And “hearing” includes aspects of perception that are thought to be quintessentially human—music and language. Many other sensations—the sense of balance, the sense of body position (proprioception), feelings of pain arising from within the body, and feelings of heat or cold—are not covered by the standard five. Perceptual psychologists have suggested that the total count is closer to 17 than five. We will investigate all of these senses, their interactions with each other, and their intimate relationships with human emotions. Some of the questions that we will address are: Why are smells such potent memory triggers? What can visual art tell us about how the brain works and vice versa? Why is a caregiver’s touch so vital for psychological development? Why do foods that taste sublime to some people evoke feelings of disgust in others? Do humans have a poor sense of smell? Why does the word “feeling” refer to both bodily sensations and emotions? What makes a song “catchy” or “sticky”? Can humans learn to echolocate like bats? This is a good course for artists who like to think about science and for scientists with a feeling for art. All class members will have the opportunity to participate in sensory research in small group lab sessions.

The experimental study of remembering has been a vital part of psychology since the beginning of the discipline. The most productive experimental approach to this subject has been a matter of intense debate and controversy. The disputes have centered on the relationship between the forms of memory studied in the laboratory and the uses of memory in everyday life. We will engage this debate through the study of extraordinary memories, autobiographical memories, the role of visual imagery in memory, accuracy of memory, expertise, eyewitness testimony, and the neuroanatomy of memory. Frederic Bartlett’s constructive theory of memory will form the theoretical backbone of the course. Most conference work will involve experimental studies of some aspect of memory.