This just in from the Neuro Bureau, who organize the annual Brain Art Competition, as well as a bunch of other projects around the philosophy of “open neuroscience.” Here’s the text announcing the open call for submissions to the competition:
Countless hours are devoted to the creation of informative visualizations for communicating neuroscientific findings. The Brain-Art Competition aims to recognize this often unappreciated aspect of the publication process, and highlight the artistic creativity of our community.
We are inviting researchers to submit their favorite unpublished works for entry. Both team and single-person entries are welcomed. The competition will have five award categories:
– Best Representation of the Human Connectome
– Best Abstract Brain Illustration
– Best Humorous Brain Illustration
– Best Video Illustration of the Brain
– Special Topic: Best Visualization of Probabilistic Connectivity
The ‘Special Topic’ is a new addition to this year’s competition that highlights an important challenge in current connectomics research: visualizing the uncertainty of 3D connections in tractography and functional connectivity data.
Submission Deadline: 11:59PM CDT, Wednesday, June 5th, 2013
Award Notification: June 17th during the Neuro Bureau gala event, held at the OHBM Annual Meeting in Seattle.
For more information, check out the competition details and submission form at: www.neurobureau.org
The Blue Brain Project (now The Human Brain Project) was awarded €1 billion by the European Union. President Obama recently committed over $300 million a year for 10 years to a proposed Brain Activity Map (BAM) project modeled after the Human Genome Project. The Decade of the Brain was supposed to last from 1990-1999, according to President George H.W. Bush. Now some scientists question or even object to the new funding. There would seem to be a number of entangled implications —political, intellectual, social, economic, etc. One can think of our life, as the brain, as an complex organization of interconnected systems. So what do you make of these investments and how might they affect our society?
Here’s something else scientific imaging could be used for– a performance-driven music video. Check out this new video, directed by Adam Powell, and featuring the music of Sivu.
A new Scientific American video series called “My Mind’s Eye“, hosted by neuroscientist (and past TBB contributor) Joe LeDoux, features interviews with prominent scientists and philosophers alongside performances by LeDoux’s own brain-themed rock band, The Amygdaloids. The episodes, which feature candid interviews and beautiful imagery, are being produced by Alexis Gambis of Imaginal Disc, and the first in the series is now live:
The first episode features philosopher Ned Block in dialogue with LeDoux about some of the most tantalizing questions in the present-day study of consciousness.
The National Endowment for the Arts has supported creativity and innovation with governmental funding since 1965. Over the last two years, compelled by our Republican Congress, President Obama has cut the NEA’s budget by $21.5 million (12.8%). Earlier this year, however, the President proposed a 5.5% increase to the program in 2013, while Republican nominee Mitt Romney has said that he would eliminate the endowment entirely. During a brief speech in February, the President delivered the following message to recipients of the National Arts and National Humanities Medal: “Equal to the impact you have on each of us every day as individuals is the impact you have on us as a society. And we are told we’re divided as a people, and then suddenly the arts have this power to bring us together and speak to our common condition.” For so many of us, this idea feels true. Perhaps, while reading words, we have experienced what Vladimir Nabokov called “the sob in the spine,” that subtle yet unmistakable awakening. Perhaps we have been struck dead by live music, like what Frank O’Hara describes in his poem “The Day Lady Died,” which remembers a Billie Holliday performance (“everyone and I stopped breathing”). Perhaps we have felt the selfless satisfaction of giving ourselves up to an idea, as in an artistic group or community (like my community). We all know art affects us; but can these effects of art be measured? This is a scientific question, and one that the NEA, “to promote knowledge and understanding about the contributions of the arts,” has set out to answer systematically. The organization revealed its five-year research agenda called “How Art Works,” which seems at the same time eerie and right on point.
Here’s an interesting answer from composer Philip Glass in response to a question about timelessness in a New York Times Magazine Q&A alongside Beck, published today:
What do you both think about timelessness and your work, and how things in your work feel dated or not dated?
GLASS: It all sounds dated. Because I can’t write that music again. I can’t write “Einstein on the Beach” again. I played from it in a concert the other day, and it’s like I never wrote it. My brain’s been rewired. I don’t think I’ve ever said this publicly, but I think that the music we write, it accurately reflects the way our brains work, and our brains are constantly evolving. Our brains are very plastic; they continue to grow.