]]> http://amyione-online.com/2012/04/29/how-exercise-could-lead-to-a-better-brain/feed/ 0 http://amyione-online.com/2012/04/23/filmmaker-wins-case-against-i-r-s/ http://amyione-online.com/2012/04/23/filmmaker-wins-case-against-i-r-s/#comments Mon, 23 Apr 2012 22:33:27 +0000 ione http://amyione-online.com/?p=1078 Good news for artists! The producer and director Lee Storey won her case last week against the commissioner of Internal Revenue in United States Tax Court. The I.R.S. tried to disallow Ms. Storey’s deduction of expenses incurred while making and marketing the film “Smile ’Til It Hurts: The Up With People Story,” claiming she was engaged in a hobby — not a business — because she enjoyed filmmaking and wasn’t turning a profit despite considerable efforts to do so.

“The primary issue,” the judge stated, “is whether [Storey], a law firm partner and full-time attorney, was involved in the trade or business of film production under section 162 during the years at issue. We hold that she was engaged in the trade or business of film production during each of the years at issue and that she was engaged in this business for profit.”

Case was LEE STOREY AND WILLIAM STOREY, Petitioners v. COMMISSIONER OF INTERNAL REVENUE, Respondent

Court opinion is at http://www.documentary.org/images/news/2012/Storey_court_comments.pdf

Full story

Imagery in the 21st Century
by Oliver Grau, Editor; with Thomas VeiglAs I began this review I began to think that the refrain “we are surrounded by images today” has lost its impact (despite my being among the guilty users of it). On the one hand, it seems that many of us notice the imagery.

Yet, on the other hand, as we increasingly engage with our visual culture certain norms for our critical investigations are also developing. I’m not sure where this leaves us. To be sure, the nature and complexity of our image-abundant culture is extraordinary. Images are no longer sparse and highly treasured. Rather, we have visual social media, scientific imaging tools, and even static objects like paintings populate the ever-changing screens of our mobile and desktop devices. Even those among us who have resisted some of the broad spectrum of electronic options (think Flickr, Facebook, YouTube, thousands of television channels, digital games, and virtual worlds) cannot escape this new world.

Overall, the book offers systematic and interdisciplinary reflections on expanding and novel forms of images and visualization.  Drawing on a number of experts, the twenty chapters highlight new efforts to visualize complex ideas, structures, and systems. In today’s information explosion the question of where what digital images represent and where they fit in the scheme of things becomes quite prismatic.  As a whole, the chapters are quite strong; they do not suffer from the unevenness so common in collections of conference papers, which this book is.  Of particular value is the breadth of the essays.  Researchers from the natural sciences and the humanities explore the wealth of diverse functionality that images have evolved to offer to our lives, that includes lab applications, social commentary, humanistic questions, and experimental art projects.  The spectrum of topics include: database economy (Sean Cubitt), telepresent images (Martin Schulz), ethical boundaries (Eduardo Kac), the emergence of a future web-based video aesthetic (Thomas Veigl), brain research (Olaf Breidbach), medical illustration (Dolores and David Steinman), interdisciplinary practices (James Elkins), the role of source code (Wendy Hui Kyong Chun), the interface (Christa Sommerer and Laurent Mignonneau), the museum (Peter Weibel), cellular automata (Tim Otto Roth and Andreas Deutsch ), cultural analytics (Lev Manovich and Jeremy Douglass) and a digital version of the Warburg Image Atlas (Martin Warnke).  Even this abbreviated list offers a glimpse into the diversity of efforts to expand visual competence through providing cross-disciplinary exchanges among the arts, humanities, and natural sciences. While this range makes the volume a valuable tool for examining this subject across disciplines, the title, Imagery in the 21st Century, is likely to seem a rash overstatement in a few decades, given that the century has hardly begun.

Chapters focusing on applications and innovations offer the most of substantive value, in my view. “Toward New Conventions for Visualizing blood Flow in the Era of Fascination with Visibility and Imagery” by Dolores Steinman and David Steinman falls into this category. Well written and comprehensive, these authors set the stage by pointing out that medical images (drawings, woodcuts, engravings) have always played a key role in educating practitioners and knowledge development. They then follow with case studies that illustrate their efforts to represent blood flow in the context of the living body and conclude with some commentary on medical imagery as art and in popular culture.

James Elkins’ chapter, “Visual Practices across the University: A Report,” also stood out. Elkins presents a brief summary of a book called Visual Practices across the Universitythat was published in German in 2007 and is little known outside of the German-speaking world. The essay summarizes an exhibition project that was initiated by sending email to faculty in the sixty-odd departments at University College, Cork asking for exhibition proposals from anyone who uses images in their work.  What stood out in his commentary is how differently scientists, humanists and artists think about images and imagery. In this case, he found that while most visual work in the university is done outside of the humanities, most of this work is invisible because the routine image making and image interpretation is not considered as important to the goals as what the images represent and the science that they make possible.

Oliver Grau, the editor, is a Professor for Image Science and Dean of the Department for Cultural Studies at Danube University, the author of Virtual Art: From Illusion to Immersion (2003) [1] and the editor of MediaArtHistories. His collaborator, Thomas Veigl, is on the scientific staff of the Department for Image Science at the Danube–University Krems.  Their opening chapter, Introduction: Imagery in the 21^st Century, sets the stage well and is available at http://mitpress.mit.edu/books/chapters/0262015722chap1.pdf . Grau’s concluding section on “Media Art’s Challenge in Our Societies” offers an overview of image studies today.  Parts of the chapter are useful but, because some sections in it are so focused on his professional efforts to meet today’s challenges rather than the challenges overall, the text read like an infomercial at times.

Throughout the book it is clear that there are the endless options for image manipulation and that while new media presents us with both interactive opportunities it also raises challenging questions (about human autonomy, entertainment, interaction, etc.).  The editors note:

“Images increasingly define our world and our everyday life: in advertising, entertainment, politics, and even in science, images are pushing themselves in front of language. The mass media, in particular, engulf our senses on a daily basis. It would appear that images have won the contest with words: Will the image have the last word?” (p. 6)

Perhaps images will have the last word.  On March 12^th of this year (2012) theEncyclopaedia Britannica announced “it will cease publication of the 32-volume printed edition of its flagship encyclopedia, continuing with the digital versions that have become popular with knowledge seekers in recent decades.”  The press release also noted that “[The Encyclopedia Britannica] was originally published in Edinburgh, Scotland in 1768 and has been in print continuously ever since [2]. When I grew up, like many of my generation, this book was like browsing the web.  I used to love to turn the pages, looking at the images and reading the articles that related to images that caught my fancy.

Of course, the Grau book itself raises another side of the question about whether images will have the last word. At this point in time it is not available electronically although sections of the text (without the images!) are on Google Books; moreover Google Books does not offer active links to all the many, many websites the Grau book references. Amazon’s page for the book does not link to a Kindle version.  Instead, Amazon has a link asking visitors to tell the publisher to offer a Kindle version.

So, will images have the last word? Perhaps. Or perhaps we need to ask: Is it a good thing for images to have the last word?  I did not think that the depth of this kind of question was fully addressed in the book since its focus was on the importance of understanding images as vital and dynamic parts of our world today. Thus, my primary concern about this volume, which I recommend overall, is that the reflections and analytical approaches offered did not seem to balance the euphony and cacophony of our experience today. While I’m not exactly sure how this relates to whether images will have the last word, I do know that at times all of the changing images surrounding me feel very cacophonic.  As a participant in the movement is to reverse the dominance of textual sources in our approaches to knowledge, as we celebrate our visual abundance, visualization methods, the distribution of images, and how imagery benefits our lives; it seems foreign to have evolved to the point that I think so much about the visual noise.  Even in this book I found that some of the projects seemed strikingly cacophonic, and thought that the theoretical assumptions of the authors overall are more biased toward euphonic reactions to our visual culture than the harshness and discordant qualities that are congruent with our visual culture?

Perhaps the next step is making sure we address that the cacophonic side is actively included in our critical analyses or imagery.  Grau does stress that using an historical lens is an aid in understanding our imagery today. This perspective opens the door for a balanced analysis of the visual and textual and I support him in this effort. Therefore, while the book is only a slice of the imagery picture today, I think readers will gain much from spending time with Imagery in the 21st Century.

References:
[1] See my Leonardo Review at http://leonardo.info/reviews/feb2003/GRAU_ione.html.

[2] “Encyclopaedia Britannica To End Print Edition, Go Completely Digital,” http://www.corporate.eb.com/?p=508.

In the last few years, the term neuroaesthetics has come to denote research that looks at the relationship between art and the brain. The premise within the field is that we can understand art by combining neurological research with aesthetics. Although some of the work associated with this field is compelling, I am among those unconvinced that we can reduce the creation and appreciation of art to a set of physical or neurological laws, or that neuroscience will ever “explain” what art “is” or tell us how the originality that accompanies artistic creation “works.” Still, I often ask myself, Why is it that more connections are not made between art and the brain, given that both domains reach into all aspects of human life?

The tragedy of Gabrielle Giffords offers a good case in point. Giffords, a U.S. Congresswoman from Arizona, was shot in the head at point-blank range in January 2011. The episode left her with a left-brain injury that gave her aphasia, an inability to speak due to damage to the language pathways. During the early stages of her therapy, melody and rhythm were key factors in her recovery. Since language is largely associated with the left side of the brain, while music activates auditory, motor and coordination areas on both sides and is also involved in memory and emotion, she was able to use simple songs and musical patterns to help her regain language and speech [1].

Brain injuries that intersect with art often provide much food for thought, as Federico Fellini’s case shows. This filmmaker, known for incorporating his own life into his creative projects, suffered a stroke in the territory of the right-middle cerebral artery. Scans from one week after the stroke show a large lesion encroaching upon the temporoparietal regions of the right hemisphere. Many patients who have experienced similar neurological events have poor insight into their conditions. Fellini, however, produced creative drawings that show he retained an uncanny awareness of the motor difficulties related to his stroke. To oversimplify, his drawings showed the expected loss in ability to interpret sensations (anosognosia) and yet he retained the capacity to mock his diminished condition [2], as could be seen often in his films.

Oliver Sacks’s work on art and the brain is frequently described as a nice middle ground of sophistication for the non-specialist, although, admittedly, several neurologists and medical practitioners have told me they dislike the way he simplifies the information he presents. Sacks has also participated in experiments that offer a look at brain operations of a “normal” subject. In one, at Columbia University, brain scans were used to see if Sacks’s brain would register his passion for Bach relative to his distaste for Beethoven. As it turned out, this was the case. Bach activated large areas of the right amygdala, which is vital to processing emotions, even during a sequence when he was unable to distinguish Bach from Beethoven. Does this mean that Sacks has—indeed, that we all have—an unconscious and that his unconscious discriminates even when it does not inform his conscious mind?

Each time I encounter a coupling of art and the brain I ask myself why neuroaesthetic theories often strike me as lacking. I would prefer that studies of how our brains work did not try to “solve” art but rather were a part of how we enlarge our understanding of the creative process. Artistic projects span the spectrum of human life, offering contextual commentary on every subject that intersects with cultural experience and formal statements as well. Our functioning brains are clearly also a part of all aspects of human life. Given how much there is to learn about brain plasticity and brain functions, what projects can we advance that will further the study of creativity and how it links with human consciousness?

Amy Ione, Leonardo Editorial Advisor

E-mail: <ione@diatrope.com>

References and Notes

1.

Diane Sawyer, “Gabby Giffords & Mark Kelly: Courage and Hope,” 20/20, ABC network, 14 November 2011. Video available at <http://abcnews.go.com/2020/video/gabrielle-giffords-10-months-14953004>.

2.

Sebastian Diegueza, Gil Assalb and Julien Bogousslavsky, “Visconti and Fellini: From Left Social Neorealism to Right-Hemisphere Stroke,” in J. Bogousslavsky and M.G. Hennerici, eds., Neurological Disorders in Famous Artists—Part 2 (Basel, Switzerland: Karger, 2007) pp. 44–-74.

Editors’ Note: We encourage scientists and artists to submit articles on this subject for publication consideration. To submit, please contact Leonardo Executive Editor at <rmalina@alum.mit.edu>.

The Franklin Institute also has an informative video on YouTube:

Art and the Limits of Neuroscience
By ALVA NOë
Why does art move us? Why does it matter? The answers are not likely to be found by studying the brain.

	The Beginning of Infinity: Explanations that Transform the World by David Deutsch Reviewed by Richard Kade
	Divining a Digital Future: Mess and Mythology in Ubiquitous Computing by Paul Dourish and Genevieve Bell Reviewed by John Vines
	Helmholtz: From Enlightenment to Neuroscience by Michel Meulders; edited and translated by Laurence Garey Reviewed by Amy Ione
	Switching Codes: Thinking Through Digital Technology in the Humanities and the Arts by T. Bartscherer & R. Coover, Editors Reviewed by Rob Harle
	Through The Looking Glass by Francisco López Reviewed by Eugene Thacker

Also:

L|R|Q – Leonardo Reviews Quarterly
The fourth issue of Leonardo Reviews Quarterly is available to download as a PDF.

Please click here to start the download.

Ione, A. (2100) “Multiple Discovery. ” In: Runco MA, and Pritzker SR (eds) Encyclopedia of Creativity, Second Edition, vol 2, pp. 153-160 San Diego: Academic Press.

Please email me for a pdf of the article.