Origins. On the origin of art and symbolism

Aesthetics and neural network image representations

We analyze the spaces of images encoded by generative neural networks of the BigGAN architecture. We find that generic multiplicative perturbations of neural network parameters away from the photo-realistic point often lead to networks generating images which appear as "artistic renditions" of the corresponding objects. This demonstrates an emergence of aesthetic properties directly from the structure of the photo-realistic visual environment as encoded in its neural network parametrization. Moreover, modifying a deep semantic part of the neural network leads to the appearance of symbolic visual representations. None of the considered networks had any access to images of human-made art.

A Retrospective Thematic Analysis of Patient, Family, and Staff Creative Art Tiles Developed on a Tertiary Palliative Care Unit

OBJECTIVES

Clinical use of the creative arts in palliative care is well established, yet there are few evaluation studies of these programs.

METHODS

In this first phase of a 3-phase evaluation of a creative arts program entitled "Tile Tales," we conducted a retrospective thematic analysis of 85 painted tiles and accompanying stories that were publically displayed on a tertiary palliative care unit. Each story was independently coded, using content analysis. Themes were derived through consensus, using the constant comparative method.

RESULTS

Tiles were created by staff (n = 36, 42%), family (n = 32, 38%), patients (n = 9, 11%), or patients and family (n = 8, 9%). Six major themes emerged from the artwork: "Spirituality," "Relationships," "Journey," "Story," "Symbolism," and "Paradox."

SIGNIFICANCE OF RESULTS

These results illustrate how the creative arts can support the expression of diverse palliative care experiences, for patients, their families and palliative care staff, when words alone may not suffice.

Culture and art: Importance of art practice, not aesthetics, to early human culture

Art is expressed in multiple formats in today's human cultures. Physical traces of stone tools and other archaeological landmarks suggest early nonart cultural behavior and symbolic cognition in the early Homo sapiens (HS) who emerged ~300,000-200,000 years ago in Africa. Fundamental to art expression is the neural underpinning for symbolic cognition, and material art is considered its prime example. However, prior to producing material art, HS could have exploited symbolically through art-rooted biological neural pathways for social purpose, namely, those controlling interpersonal motoric coordination and sound codependence. Aesthetics would not have been the primary purpose; arguments for group dance and rhythmical musical sounds are offered here. In addition, triggers for symbolic body painting are discussed. These cultural art formats could well have preceded material art and would have enhanced unity, inclusiveness, and cooperative behavior, contributing significantly to already existing nonart cultural practices.

Consciousness: a neural capacity for objectivity, especially pronounced in humans

Consciousness tends to be viewed either as subjective experience of sensations and feelings, or as perception and internal representation of objects. This paper argues that neither view sufficiently acknowledges that consciousness may refer to the brain’s most adaptive property: its capacity to produce states of objectivity. It is proposed that this capacity relies on multiple sensorimotor networks for internally representing objects and their properties in terms of expectancies, as well as on motivational and motor mechanisms involved in exploration, play, and care for vulnerable living and non-living objects. States of objectivity are associated with a very special phenomenal aspect; the experience that subjective aspects are absent and one is “just looking” at the world as it really is and can be. However, these states are normally closely preceded and followed by (and tend to be combined or fused with) sensations and feelings which are caused by activation of sensory and motivational mechanisms. A capacity for objectivity may have evolved in different species and can be conceived as a common basis for other elusive psychological properties such as intelligence, conscience, and esthetic experience; all three linked to crucial behaviors in human evolution such as tool making, cooperation, and art. The brain’s pervasive tendency to objectify may be responsible for wrongly equating consciousness with feelings and wrongly opposing it to well-learned or habitual (“unconscious”) patterns of perception and behavior.

Cognition and art: the current interdisciplinary approach

For decades discussions of cognition and art were anchored in psychological and perceptual theories alone and were focused primarily on pictorial art, but in recent years a major conceptual shift has altered the discussions. Now, insights, concepts, and findings from archaeology, anthropology, brain evolution, biology, genetics, neurology, and neuroscience together with psychology and perception are leading into deeper scholarly explorations of the topic than was done previously. The implication is that the relationship between cognition and art can be fully grasped only when scholarship from all these disciplines is included in the discussions. We now emphasize that the diverse art forms practiced ubiquitously in human societies have a communicative value with deep biological roots and that art is another expression of the symbolic cognition that is the hallmark of the human brain, but that early societal-type organization played a pivotal role in the enduring practice of art. Moreover, neurological evidence from artists with brain damage suggests that the communicative nature of art is neuronally damage-resistant, much more so than language. Rather than placing pictorial art center stage, as was done previously, the current interdisciplinary approach includes all the arts, points to sociocultural triggers for art practice, to the demographic conditions that prevailed in art's early beginnings, and to the interplay of these evolutionarily adaptive factors with deep biological motivations in the artist. WIREs Cogn Sci 2013, 4:431-439. doi: 10.1002/wcs.1236 The authors have declared no conflicts of interest for this article. For further resources related to this article, please visit the WIREs website.

The evolution of the brain, the human nature of cortical circuits, and intellectual creativity

The tremendous expansion and the differentiation of the neocortex constitute two major events in the evolution of the mammalian brain. The increase in size and complexity of our brains opened the way to a spectacular development of cognitive and mental skills. This expansion during evolution facilitated the addition of microcircuits with a similar basic structure, which increased the complexity of the human brain and contributed to its uniqueness. However, fundamental differences even exist between distinct mammalian species. Here, we shall discuss the issue of our humanity from a neurobiological and historical perspective.