Aesthetics has long been the preserve of philosophy, art history, and the creative arts but, more recently, the fields of psychology and neuroscience have entered the discussion, and the field of neuroaesthetics has been born. In Brain, Beauty, and Art, leading scholars in this nascent field reflect on the promise of neuroaesthetics to enrich our understanding of this universal yet diverse facet of human experience. The volume consists of essays from foundational researchers whose empirical work launched the field. Each essay is anchored to an original, peer-reviewed paper from the short history of this new and burgeoning subdiscipline of cognitive neuroscience. Authors of each essay were asked three questions: 1) What motivated the original paper? 2) What were the main findings or theoretical claims made? and, 3) How do those findings or claims fit with the current state and anticipated near future of neuroaesthetics? Together, these essays establish the territory and current boundaries of neuroaesthetics and identify its most promising future directions. Topics include models of neuroaesthetics, and discussions of beauty, art, dance, music, literature, and architecture. Brain, Beauty, and Art will inform and stimulate anyone with an abiding interest in why it is that, across time and culture, we respond to beauty, engage with art, and are affected by music and architecture.

Neuroethics is concerned with the wide array of ethical, legal and social issues that are raised in research and practice. The field has grown rapidly over the last five years, becoming an active interdisciplinary research area involving a much larger set of academic fields and professions, including law, developmental psychology, neuropsychiatry, and the military.
Neuroethics and Practice helps to define and foster this emerging area at the intersection of neuroethics and clinical neuroscience, which includes neurology, neurosurgery, psychiatry and their pediatric subspecialties, as well as neurorehabiliation, clinical neuropsychology, clinical bioethics, and the myriad other clinical specialties (including nursing and geriatrics) in which practitioners grapple with issues of mind and brain. Chatterjee and Farah have brought together leading neuroethicists working in clinically relevant areas to contribute chapters on an intellectually fascinating and clinically important set of neuroethical topics, involving brain enhancements, brain imaging, competence and responsibility, severe brain damage, and consequences of new neurotechnologies. Although this book will be of direct interest to clinicians, as the first edited volume to provide an overall comprehensive perspective on neurethics across disciplines, it is also a unique and useful resource for a wide range of other scholars and students interested in ethics and neuroscience.

The Aesthetic Brain takes the reader on a wide-ranging journey through the world of beauty, pleasure, and art. Chatterjee uses neuroscience to probe how an aesthetic sense is etched in our minds and evolutionary psychology to explain why aesthetic concerns feature centrally in our lives. Along the way, Chatterjee addresses fundamental questions: What is beauty? Is beauty universal? How is beauty related to pleasure? What is art? Should art be beautiful? Do we have an instinct for art? Chatterjee starts by probing the reasons that we find people, places, and even numbers beautiful. At the root of beauty, he finds, is pleasure. He then examines our pleasures by dissecting why we want and why we like food, sex, and money and how these rewards relate to aesthetic encounters. His ruminations on beauty and pleasure prepare him and the reader to face art. He wanders through the problems of defining art, understanding contemporary art, and interpreting ancient art. He explores why art, something that seems so useless, also feels fundamental to our humanity. Replete with facts, anecdotes, and analogies, this empirical guide to aesthetics offers scientific answers without deflating the wonders of beauty and art.