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Author Page for Noah Hutton

NOAH HUTTON (Founding Editor) graduated from Wesleyan University in 2009 where he studied art history and neuroscience. He got his start as a director with Crude Independence, which premiered at the 2009 SXSW Film Festival and won Best Documentary Feature at the 2009 Oxford Film Festival. in 2010-2013, Noah has filmed years 1-4 of his ten-year film-in-the-making tracking the progress of the The Human Brain Project. Noah directs content through his NYC-based production company Couple 3 Films, most recently music videos for The Indecent (Warner Brothers) and the The Bad Plus (Universal/E1), 30 short films about the human mind for Scientific American, and short documentary films that were shown at the 12-12-12 Hurricane Sandy benefit concert at Madison Square Garden.

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What the Internet Is (or Isn’t) Doing to Our Brains

[ 3 ] December 18, 2010

by Noah Hutton
Contributing Editor

“I was losing my ability to tune out distractions and focus on one thing,” began Nicolas Carr. “I contend that the Web moves us back to a primitive way of thinking.”

Carr is the author of The Shallows: What the Internet Is Doing to Our Brains (Norton, $26.95). As per the title, he gave a talk last week at the New York Academy of Sciences about his theories on the Internet and what it is doing to us.

But Carr would tell you that these are not just theories– that there is hard, scientific evidence to back up his claims about attention, deep concentration, and multitasking. And that is where the debate has raged since his book was published earlier this year: is there enough empirical evidence yet to conclude that the Net is having harmful effects on our cognitive capacities to concentrate and focus our attention? Or is Carr’s thesis more of a tenuous coalition of thin scientific evidence and overstretched cultural anecdotes about our online culture, all steeped in a fear of the wires and screens of the present, with a nostalgia for the pre-Web past?

Clearly, I tend to side with the latter camp; for those interested in the finer points of what Carr is basing his claims on (for example, there is much debate about Carr’s inclusion of video game studies to make point about Internet usage) I steer you to Jonah Lehrer’s eloquent NYT review of Carr’s book, as well as the comments section of Lehrer’s blog post about his review, where Carr and Lehrer had a Web-based back-and-forth in June about it all. It is important to note that even Carr has admitted the relative lack of evidence: in a September interview for New Scientist, he is quoted as follows:

Unfortunately, there’s not a lot of physiological evidence to show how the net affects the brain – but there’s some, and it is compelling. One study from the University of California, Los Angeles, for instance, shows fairly extensive changes in patterns of brain activation from moderate use of search engines.

Carr is arguing that Internet usage leads to scattered thinking, as one checks email, Facebook, Twitter, then gets back to reading an article or working on whatever they’re actually supposed to be working on. Sure, that’s one way people use the Internet, and I have certainly felt myself procrastinating from time to time, but I also contend I can do more over time because of these tools. People also try to drink and do drugs and then work—but people write different kinds books about that, and they’re found in the self-help section.

Personally, after sifting through the blog posts with their comments, and reading The Shallows, I leave the store not buying the product Carr is selling—for a very basic reason. It’s the reason with which Carr began his discussion of the Internet at the NYAS talk last week.

“Whether they realize it or not, in the early stages, users don’t realize the hidden force of technology,” Carr told the audience. He bemoaned the “compulsive fervor” of Internet consumption, and the inherent “ethic” he believes is embedded in Web-based technology, which, according to Carr’s fears about his own brain which led to all this, is rather unethical. And by the end, he was telling the audience that he believes the Internet is leading us towards a more primitive way of thinking– a step backwards on Carr’s intellectual ladder.

The book we need is not one about what this evil Internet is doing to us, as there is actually no inherent ethic in any tool. It’s all inside of us– this is rule number one from neuroscience. What we perhaps could use is one about how to take ownership of it and use it for what it’s worth. From the comments at Lehrer’s blog:

Following on the warnings of Socrates, does anyone here dispute that books have been a cognitive boon for humankind? With the advent of smartphones, I and millions of others have virtually instantaneous access to vast stores of knowledge. Yesterday over dinner naked mole rats came up in conversation, and I pulled out my Droid, used voice search, and had gobs of new information to add to the discussion. On a recent trip to San Francisco, I used walking navigation to find my way around the city. Personally it seems a huge benefit to be able to spend fewer cognitive resources on storing large amounts of obscure facts or spatial maps. Instead, I have to learn the comparatively cognitive load of learning how to effectively access the information and use it.

The Internet probably does have adverse effects if we use it with the “compulsive fervor” that Carr describes. But Derek James, author of the above comment, clearly doesn’t feel the same scattering ethic Carr does inherent in the tools he’s using.  He seems to be using his tools quite well.

From the first stone tools to maps, clocks, books, and now the Internet, tools are about how we use them and what we use them for. If you’re really worried about distractions on the Internet and really feel a loss of control, then close the laptop and take a walk. It ends up working like any cycle of addiction would—it’s nothing inherent in the thing, it’s about how we use and then abuse our things.

Carr’s fear of the Internet, as if it were a wild beast we have lost control of, will always seem nostalgic, for the active use of tools leads to the invention of new tools, as we figure out what is and isn’t working so that the next step can be taken. These steps are not always in a “forward” or “upward” direction (however one would judge those directions), but at least we’re taking a step. It’s the difference between stepping up to the plate and taking some swings or just standing there and complaining about your bat.

Brilliant Venn Diagram on Art and Science

[ 2 ] November 24, 2010

We came across this venn diagram as part of the Imaginary Foundation‘s exhibition “The Undivided Mind” in San Francisco.

From the description of the show:

The artist and scientist may at first seem strange bedfellows. Of the many human disciplines, there are few that could seem more divergent. The artist employs image and metaphor; the scientist uses number and equation. Art creates illusions meant to evoke emotion, while science engages in the pursuit of empirical verification. There is, to some degree, a physiological cause for this apparent divergence: the two halves, or hemispheres, of the brain.

The right side of the brain is responsible for emotions and intuition, the left for logic and reason. Yet the notion of two brains gives rise to the function of one mind. Perhaps it is this one “undivided mind” that presents a way forward through the monumental cultural changes we now face, enabling us to surf this dynamic moment in history from a platform of balance and symmetry.

This installation endeavors to fuse the aesthetic beauty of art and science in order to create a synthesis of mind, one which is as much rational as it is fantastic. Think of this undivided mind as a prototype of human possibility—an evolutionary signal of convergence, harmony, and accelerated progress. The rest is up to us.

While this description of the drastically split functions of the hemispheres of the brain is pretty oversimplified and outdated, props to the Imaginary Foundation for cool images and a great idea for a show.

The Brain in Three Dimensions

[ 1 ] October 28, 2010

MRI scans of the brain display colorful splotches in areas where there is a higher-than-usual level of activity, which calls for increases in bloodflow to that region (MRI machines tracks the magnetism of iron in our blood as it moves through the brain). These images are classically two-dimensional. As valuable as MRI imaging has been, showing a flat perspective of a structure than can only be understood in three dimensions is eventually quite limited in its medical applications.

Now, researchers at Eindhoven University of Technology have developed a software tool that doctors can use to convert MRI scans into three-dimensional images, such as the image seen below.

Imaging tools like this one should increase the accuracy of diagnosing brain disfunction and allow doctors to pinpoint regions for surgery with greater precision. Read more in the official press release here. (Special thanks to TBB reader Maarten Boos for the tip).

The Parallel Film: Herzog’s “Cave of Forgotten Dreams”

[ 6 ] October 7, 2010

Cave of Forgotten Dreams is the latest film from German director Werner Herzog. The film premiered in New York City on October 2nd at The New Yorker Festival.

Director Werner Herzog (left) inside the Chauvet cave.

When Werner Herzog was granted access to film in the very secretive Chauvet cave in France—sealed for 30,000 years with pristinely preserved Paleolithic wall paintings, and discovered in 1994—he at first resisted his producer’s suggestion that he document it in 3D.

“I have seen Avatar,” Herzog said, much to the delight of the crowd gathered for the Q&A following the New York premiere of his new film, Cave of Forgotten Dreams, last Saturday evening at The New Yorker Festival. “Everything you see in the film [Avatar] is completely articulate in three dimensions. Beyond what you’re seeing on screen, there is no space for fantasy, no space for you to complement, to complete the film on a different level… I have created a dictum: Yes, shoot a porno film in 3D. Not a romantic comedy. So I am a skeptic of 3D movies.”

But something about the images on the very three-dimensional surfaces of the cave walls at Chauvet changed Herzog’s mind: “It was immediately clear this was to be shot in 3D, from the moment I saw the paintings,” he explained.

And a wise choice it was. Herzog’s use of 3D fits the environment he’s documenting: uneven, curved, and jagged cave walls. These Paleolithic artists used the dimensionality of the cave surfaces, with all their contours and shadow-casting edges, as their canvases upon which images of horses, bison, rhinos, and other animals were rendered. The results appear almost animated in the flickering light, and in some cases even have multiple limbs drawn in a sequential row— an effect Herzog refers to as “proto-cinema” in the film’s narration, and one that he purposefully strengthened by shifting the light sources on the cave wall as he panned and floated his camera along its surface.

Despite his skepticism of 3D filmmaking, Herzog somehow still allows us space to contemplate and “complete” the film within us while we watch these images through our silly 3D glasses. “Allowing the audience the parallel movie within yourself, that was my challenge with this film,” he said.

So how do we approach these images, the first known human artistic objects in the world, and how do we imagine the people that created them, so far from us in time?

I imagine the parallel film that ran within me while watching Cave of Forgotten Dreams is not so different than the parallel film that ran within the observers of this art as they gazed at it millennia ago, perhaps in a ceremonial setting with shadows dancing along its surfaces. And the reason for this similarity in experience, however improbable it is across such a gulf in time and in human ideas about the world and existence, is that I share with these distant ancestors a brain that has not changed very much in its physical properties. The ideas contained within it may seem wildly different, but consciousness, art, and the self are deep phenomena that extend back even beyond the creation of these images. We may never know the specific use or meaning of these images for their creators, but I do think a deeper meaning— an essential quality of communication—can be strung across time and space to the movie theater, where we sit behind our 3D glasses.

Herzog points us in this very direction. On Saturday, he ended his Q&A with a statement that provides an invaluable directive on how to begin to handle these millennia-old images: “Don’t ever trust a movie. Trust in imagination. Trust in your own ecstasy. Trust in the ecstasy of truth.”

A section of the cave paintings at Chauvet.

However mysterious in its meaning and use, the cave art at Chauvet is a record of the consciousness of its creators, and it is strikingly ego-less. As one scientist remarks in the film, these people were probably far more “permeable” than we are today—permeable between the spiritual and the physical, the identity of a human and that of an animal or a plant. We encounter ego-less artwork that bespeaks the permeability between a single creator and a community, gathered in this dark cave that seems to engender a collective human experience, and it challenges our Western notions of “the artist.” Yet in the silence, even as we hear our own heartbeat, we feel some eerie presence of these people in the images they have left us. The ego in the images is not of individuals, but rather of a species that has triumphed in the material world and is now able to represent what they see on the inside: the images flashing through their minds now externalized, dancing on the walls of a cave. In a sense, walking into this in 3D cave feels like walking into the mind of a people long disappeared, and we are confronted with the splendor of their visual memory of the world around them.

And this is the parallel film that plays out within us. In neuroscience, consciousness is sometimes described as an awareness of thought itself, a lighthouse gazing into the abyss of the unconscious as it plucks information, ponders and predicts, constantly forming the narrative of our thought.

Art then emerges as perhaps our best record of this narrative of human consciousness, a record which scientific analysis of neurons and firing patterns would be hard pressed to match with any subjective or objective force.

The concept of permeability mentioned by the scientist in the film is helpful in thinking about art on this most essential of levels, dating back to the first single-celled organism. For the perception of the world, the awareness of our own brains at work as we sift through memory and emotion, and the transference of the internal back into the external through art is the same basic principle of permeability that allowed the first living cell to at once separate itself from the physical environment, yet still give and take what it needed to survive and reproduce, to use something internal to change the external world, and thus affect other organisms.

As we try to imagine our ancestors who lived 30,000 years ago through the visual (and perhaps spiritual) consciousness they recorded in these images, our own egos seem small. Something larger and collective in nature makes its voice heard. It is the beating of our own hearts in the presence of ancient minds deep within this mountain, as we seek to reach out across the void and communicate with something or someone, just as they did. This is the point of departure where Herzog’s ecstatic imagination takes over and creates a parallel film inside each of us.

Additional links:
  • Judith Thurman’s New Yorker article about the Chauvet cave art
  • Variety review of Herzog’s film
  • Cave of Forgotten Dreams to open 2010 DOC NYC Fest

Does Neuro-Everything Mean We’re Living in a Neuro-Revolution?

[ 2 ] September 28, 2010

You may have caught terms floating around this site and others like neurotheology, neuromarketing, neuroaesthetics, neuroethics, or neuroliterature. More and more, it seems as though “neuro” is getting slapped on any discipline one cares to apply brain science to. So what are the merits of this trend, and does it mean we’re truly living in a time of brain science-driven revolution?

The Neuro Revolution: How Brain Science Is Changing Our World, Zack Lynch, St. Martin's Press Hardcover, July 2009

A terrific essay at thevarsity.ca site deals with Zack Lynch’s book “The Neuro Revolution” and the pervasion of the brain sciences into every corner of our society, as well as the somewhat problematic tendency of depending on fMRI studies to reveal truths about our thinking, especially when it comes to the legal sphere.

Check out the essay here.

Neuroscience Rock Music, Snake Charmers, and More

[ 1 ] September 24, 2010

This weekend, as part of World Maker Faire, TalkingScience will present three performances of the Rock-It Science Cabaret, a science variety show featuring scientists and performers illustrating principles of physics, chemistry, and biology.

Ira Flatow, host of NPR’s live news/talk show Science Friday, will introduce the Rock-It Science Cabaret, and will be available at Science Friday’s booth at Maker Faire to meet and talk to fans after he leaves the Science Stage on Saturday.

Each of the Rock-It Science Cabaret’s three performances will feature a different program, with acts including:

  • Brainy music by The Amygdaloids, NYU neuroscientists led by Joseph LeDoux who sing about how the inside of your head works (Special note: Beautiful Brain editor Noah Hutton will be sitting in on drums for the Amygdaloids on Saturday)
  • Serpentina the Snake Charmer from Coney Island, who can show you how to make friends with big snakes;
  • Incredible science demos that you can take part in;
  • Science punk rock, green rap music, and more.

    WHEN:

    Saturday, September 25, 2010, noon and 4:00 PM  – rain or shine.

    Sunday, September 26, 2010, 1:00 PM – rain or shine

    WHERE:

    The New York Hall of Science, 47-01 111th Street in Queens, NY

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