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"What is art? What does art reveal about human nature? The trend these days is to approach such questions in the key of neuroscience. "Neuroaesthetics" is a term that has been coined to refer to the project of studying art using the methods of neuroscience. It would be fair to say that neuroaesthetics has become a hot field. It is not unusual for leading scientists and distinguished theorists of art to collaborate on papers that find their way into top scientific journals. Semir Zeki, a neuroscientist at University College London, likes to say that art is governed by the laws of the brain. It is brains, he says, that see art and it is brains that make art. Champions of the new brain-based approach to art sometimes think of themselves as fighting a battle with scholars in the humanities who may lack the courage (in the words of the art historian John Onians) to acknowledge the ways in which biology constrains cultural activity. Strikingly, it hasn't been much of a battle. Students of culture, like so many of us, seem all too glad to join in the general enthusiasm for neural approaches to just about everything."

"Modern art is an explosion of colors, smooth lines, flat portraits - and it turns out, neuroscience. It also once triggered some strong psychology. A pot of paint has been flung in the face of the public," the criticCamille Mauclair, said in outrage over a Paris showing of the artist Henri Matisse's vibrant works. His condemnation today seems more colorful than the paintings themselves, many now hanging in museums all over the world. What was really going on at the turn of the last century to excite such controversy? Brain researchers have increasingly turned their eyes on artists, in an effort to enrich our understanding of how we see art and of the time when paintings could shake society. "When we look at a picture and feel rewarded, we know something is occurring in our brain," says neuroscientist and artist Bevil Conway of Wellesley (Mass.) College. Conway and other neuroscientists, such as Nobel Prize winner Eric Kandel, author of the just-released The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, represent the latest voices among brain researchers taking a look at art. "By closely examining artists' paintings and practices, we can discover hints to how the brain works, and achieve insight into the discoveries and inventions of artists and their impact on culture," Conway writes in the current Annals of the New York Academy of Sciences, looking at color in the paintings of Matisse , Paul Cezanne and Claude Monet . Public domain Montross Gallery 1915 exhibition catalogue image of 'Gold Fish' by Henri Matisse. Color depends on more than the wavelength of light reaching your eye. Five decades ago, brain researchers thought only the cone-shaped "photoreceptor" cells in the retina determined what colors we see. But we now know that starting from the retina and proceeding through at least five brain regions, our perception of color is shaped not so much by the redness of the paint used to hang an apple from a tree, but

"A few months ago, a construction worker named Wesley Autrey leapt in front of a moving subway train in New York City to save a stranger who had just collapsed onto the tracks. Five days later, the New York Times speculated that this act of apparent altruism-"I just saw someone who needed help," Autrey said-might be explained by a bunch of cells thought to exist in the human brain, called mirror neurons. The idea that these particular cells might underlie a fundamental human impulse reflects the emergence of a new scientific myth. Like a traditional myth, it captures intuitions about the human condition through vivid metaphors. This isn't the first time that popular science has merged with the popular imagination. In the 1960s, for example, pioneering work on "split-brain" patients revealed real functional differences between the two cerebral hemispheres-an idea that quickly became a metaphor for ancient intuitions about reason and passion. Advertisement Mirror neurons have become the "left brain/right brain" of the 21st century. The idea that these cells could make a hero out of Wesley Autrey began with a genuine and important discovery about the brains of macaque monkeys. In the late 1980s and early 1990s, neuroscientists found a population of cells that fired whenever a monkey prepared to act but also when it watched another animal act. They called these cells "mirror neurons." It didn't take long for scientists and science writers to speculate that mirror neurons might serve as the physiological basis for a wide range of social behaviors, from altruism to art appreciation. Headlines like "Cells That Read Minds" or "How Brain's 'Mirrors' Aid Our Social Understanding" tapped into our intuitions about connectedness. Maybe this cell, with its mellifluous name, gives us our special capacity to understand one another-to care, to learn, and to communicate. Could mirror neurons be responsible for human language, culture, empathy, and morality? "