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maxwellokolo

Social Laughter Releases Endorphins in the Brain - 0 views

neurosciencenews.com/ndorphins-social-laughter-6825

shared by maxwellokolo on 03 Jun 17 - No Cached
  • maxwellokolo on 03 Jun 17
     
    Neuroscience News has recent neuroscience research articles, brain research news, neurology studies and neuroscience resources for neuroscientists, students, and science fans and is always free to join. Our neuroscience social network has science groups, discussion forums, free books, resources, science videos and more.
pier-paolo

Opinion | Pool of Thought - The New York Times - 0 views

www.nytimes.com/...pool-neuroscience.html

shared by pier-paolo on 16 Jan 21 - No Cached
  • THERE is no drug — recreational or prescription — capable of inducing the tranquil euphoria brought on by swimming. I do all my best thinking in the pool, whether I’m trying to figure out how to treat a patient’s complicated ailment or write a paper.
  • I could flood you with facts about the physiology of swimming in an attempt to convince you of its cognitive benefits. Some point to endorphins — but the idea that exertion causes endorphin levels to rise in the brain seems to be a myth
  • Perhaps swimming improves brain function by increasing blood flow? Sure, that’s true. It also raises the level of BDNF, a protein that promotes neurogenesis, especially in the hippocampus, which supports memory. But so does nearly every form of exercise that speeds up your heart rate.
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  • And yet, immersion in water up to the level of the heart has been shown to increase blood flow to one of the brain’s major arteries by 14 percent over that which you’d expect on land. So perhaps there is something special about swimming that is distinct from exercise on land.
Javier E

Eric Kandel's Visions - The Chronicle Review - The Chronicle of Higher Education - 0 views

chronicle.com/...131095

art aesthetics brain science research consciousness psychology

shared by Javier E on 18 Mar 12 - Cached
  • Judith, "barely clothed and fresh from the seduction and slaying of Holofernes, glows in her voluptuousness. Her hair is a dark sky between the golden branches of Assyrian trees, fertility symbols that represent her eroticism. This young, ecstatic, extravagantly made-up woman confronts the viewer through half-closed eyes in what appears to be a reverie of orgasmic rapture," writes Eric Kandel in his new book, The Age of Insight. Wait a minute. Writes who? Eric Kandel, the Nobel-winning neuroscientist who's spent most of his career fixated on the generously sized neurons of sea snails
  • Kandel goes on to speculate, in a bravura paragraph a few hundred pages later, on the exact neurochemical cognitive circuitry of the painting's viewer:
  • "At a base level, the aesthetics of the image's luminous gold surface, the soft rendering of the body, and the overall harmonious combination of colors could activate the pleasure circuits, triggering the release of dopamine. If Judith's smooth skin and exposed breast trigger the release of endorphins, oxytocin, and vasopressin, one might feel sexual excitement. The latent violence of Holofernes's decapitated head, as well as Judith's own sadistic gaze and upturned lip, could cause the release of norepinephrine, resulting in increased heart rate and blood pressure and triggering the fight-or-flight response. In contrast, the soft brushwork and repetitive, almost meditative, patterning may stimulate the release of serotonin. As the beholder takes in the image and its multifaceted emotional content, the release of acetylcholine to the hippocampus contributes to the storing of the image in the viewer's memory. What ultimately makes an image like Klimt's 'Judith' so irresistible and dynamic is its complexity, the way it activates a number of distinct and often conflicting emotional signals in the brain and combines them to produce a staggeringly complex and fascinating swirl of emotions."
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  • His key findings on the snail, for which he shared the 2000 Nobel Prize in Physiology or Medicine, showed that learning and memory change not the neuron's basic structure but rather the nature, strength, and number of its synaptic connections. Further, through focus on the molecular biology involved in a learned reflex like Aplysia's gill retraction, Kandel demonstrated that experience alters nerve cells' synapses by changing their pattern of gene expression. In other words, learning doesn't change what neurons are, but rather what they do.
  • In Search of Memory (Norton), Kandel offered what sounded at the time like a vague research agenda for future generations in the budding field of neuroaesthetics, saying that the science of memory storage lay "at the foothills of a great mountain range." Experts grasp the "cellular and molecular mechanisms," he wrote, but need to move to the level of neural circuits to answer the question, "How are internal representations of a face, a scene, a melody, or an experience encoded in the brain?
  • Since giving a talk on the matter in 2001, he has been piecing together his own thoughts in relation to his favorite European artists
  • The field of neuroaesthetics, says one of its founders, Semir Zeki, of University College London, is just 10 to 15 years old. Through brain imaging and other studies, scholars like Zeki have explored the cognitive responses to, say, color contrasts or ambiguities of line or perspective in works by Titian, Michelangelo, Cubists, and Abstract Expressionists. Researchers have also examined the brain's pleasure centers in response to appealing landscapes.
  • it is fundamental to an understanding of human cognition and motivation. Art isn't, as Kandel paraphrases a concept from the late philosopher of art Denis Dutton, "a byproduct of evolution, but rather an evolutionary adaptation—an instinctual trait—that helps us survive because it is crucial to our well-being." The arts encode information, stories, and perspectives that allow us to appraise courses of action and the feelings and motives of others in a palatable, low-risk way.
  • "as far as activity in the brain is concerned, there is a faculty of beauty that is not dependent on the modality through which it is conveyed but which can be activated by at least two sources—musical and visual—and probably by other sources as well." Specifically, in this "brain-based theory of beauty," the paper says, that faculty is associated with activity in the medial orbitofrontal cortex.
  • It also enables Kandel—building on the work of Gombrich and the psychoanalyst and art historian Ernst Kris, among others—to compare the painters' rendering of emotion, the unconscious, and the libido with contemporaneous psychological insights from Freud about latent aggression, pleasure and death instincts, and other primal drives.
  • Kandel views the Expressionists' art through the powerful multiple lenses of turn-of-the-century Vienna's cultural mores and psychological insights. But then he refracts them further, through later discoveries in cognitive science. He seeks to reassure those who fear that the empirical and chemical will diminish the paintings' poetic power. "In art, as in science," he writes, "reductionism does not trivialize our perception—of color, light, and perspective—but allows us to see each of these components in a new way. Indeed, artists, particularly modern artists, have intentionally limited the scope and vocabulary of their expression to convey, as Mark Rothko and Ad Reinhardt do, the most essential, even spiritual ideas of their art."
  • The author of a classic textbook on neuroscience, he seems here to have written a layman's cognition textbook wrapped within a work of art history.
  • "our initial response to the most salient features of the paintings of the Austrian Modernists, like our response to a dangerous animal, is automatic. ... The answer to James's question of how an object simply perceived turns into an object emotionally felt, then, is that the portraits are never objects simply perceived. They are more like the dangerous animal at a distance—both perceived and felt."
  • If imaging is key to gauging therapeutic practices, it will be key to neuroaesthetics as well, Kandel predicts—a broad, intense array of "imaging experiments to see what happens with exaggeration, distorted faces, in the human brain and the monkey brain," viewers' responses to "mixed eroticism and aggression," and the like.
  • while the visual-perception literature might be richer at the moment, there's no reason that neuroaesthetics should restrict its emphasis to the purely visual arts at the expense of music, dance, film, and theater.
  • although Kandel considers The Age of Insight to be more a work of intellectual history than of science, the book summarizes centuries of research on perception. And so you'll find, in those hundreds of pages between Kandel's introduction to Klimt's "Judith" and the neurochemical cadenza about the viewer's response to it, dossiers on vision as information processing; the brain's three-dimensional-space mapping and its interpretations of two-dimensional renderings; face recognition; the mirror neurons that enable us to empathize and physically reflect the affect and intentions we see in others; and many related topics. Kandel elsewhere describes the scientific evidence that creativity is nurtured by spells of relaxation, which foster a connection between conscious and unconscious cognition.
  • Zeki's message to art historians, aesthetic philosophers, and others who chafe at that idea is twofold. The more diplomatic pitch is that neuroaesthetics is different, complementary, and not oppositional to other forms of arts scholarship. But "the stick," as he puts it, is that if arts scholars "want to be taken seriously" by neurobiologists, they need to take advantage of the discoveries of the past half-century. If they don't, he says, "it's a bit like the guys who said to Galileo that we'd rather not look through your telescope."
  • Matthews, a co-author of The Bard on the Brain: Understanding the Mind Through the Art of Shakespeare and the Science of Brain Imaging (Dana Press, 2003), seems open to the elucidations that science and the humanities can cast on each other. The neural pathways of our aesthetic responses are "good explanations," he says. But "does one [type of] explanation supersede all the others? I would argue that they don't, because there's a fundamental disconnection still between ... explanations of neural correlates of conscious experience and conscious experience" itself.
  • There are, Matthews says, "certain kinds of problems that are fundamentally interesting to us as a species: What is love? What motivates us to anger?" Writers put their observations on such matters into idiosyncratic stories, psychologists conceive their observations in a more formalized framework, and neuroscientists like Zeki monitor them at the level of functional changes in the brain. All of those approaches to human experience "intersect," Matthews says, "but no one of them is the explanation."
  • "Conscious experience," he says, "is something we cannot even interrogate in ourselves adequately. What we're always trying to do in effect is capture the conscious experience of the last moment. ... As we think about it, we have no way of capturing more than one part of it."
  • Kandel sees art and art history as "parent disciplines" and psychology and brain science as "antidisciplines," to be drawn together in an E.O. Wilson-like synthesis toward "consilience as an attempt to open a discussion between restricted areas of knowledge." Kandel approvingly cites Stephen Jay Gould's wish for "the sciences and humanities to become the greatest of pals ... but to keep their ineluctably different aims and logics separate as they ply their joint projects and learn from each other."
kushnerha

A Placebo Treatment for Pain - The New York Times - 0 views

www.nytimes.com/...lacebo-treatment-for-pain.html

new york times medicine research placebo effect

shared by kushnerha on 09 Jan 16 - No Cached
  • This phenomenon — in which someone feels better after receiving fake treatment — was once dismissed as an illusion. People who are ill often improve regardless of the treatment they receive. But neuroscientists are discovering that in some conditions, including pain, placebos create biological effects similar to those caused by drugs.
  • a key ingredient is expectation: The greater our belief that a treatment will work, the better we’ll respond.
  • Placebo effects in pain are so large, in fact, that drug manufacturers are finding it hard to beat them. Finding ways to minimize placebo effects in trials, for example by screening out those who are most susceptible, is now a big focus for research. But what if instead we seek to harness these effects? Placebos might ruin drug trials, but they also show us a new approach to treating pain.
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  • It is unethical to deceive patients by prescribing fake treatments, of course. But there is evidence that people with some conditions benefit even if they know they are taking placebos. In a 2014 study that followed 459 migraine attacks in 66 patients, honestly labeled placebos provided significantly more pain relief than no treatment, and were nearly half as effective as the painkiller Maxalt.
  • With placebo responses in pain so high — and the risks of drugs so severe — why not prescribe a course of “honest” placebos for those who wish to try it, before proceeding, if necessary, to an active drug?
  • Another option is to employ alternative therapies, which through placebo responses can benefit patients even when there is no physical mode of action.
  • Taking a placebo painkiller dampens activity in pain-related areas of the brain and spinal cord, and triggers the release of endorphins, the natural pain-relieving chemicals that opioid drugs are designed to mimic. Even when we take a real painkiller, a big chunk of its effect is delivered not by any direct chemical action, but by our expectation that the drug will work. Studies show that widely used painkillers like morphine, buprenorphine and tramadol are markedly less effective if we don’t know we’re taking them.
  • Individual attitudes and experiences are important, as are cultural factors. Placebo effects are getting stronger in the United States, for example, though not elsewhere.
  • Likely explanations include a growing cultural belief in the effectiveness of painkillers — a result of direct-to-consumer advertising (illegal in most other countries) and perhaps the fact that so many Americans have taken these drugs in the past.
  • Trials show, for example, that strengthening patients’ positive expectations and reducing their anxiety during a variety of procedures, including minimally invasive surgery, while still being honest, can reduce the dose of painkillers required and cut complications.
  • Placebo studies also reveal the value of social interaction as a treatment for pain. Harvard researchers studied patients in pain from irritable bowel syndrome and found that 44 percent of those given sham acupuncture had adequate relief from their symptoms. If the person who performed the acupuncture was extra supportive and empathetic, however, that figure jumped to 62 percent.
  • Placebos tell us that pain is a complex mix of biological, psychological and social factors. We need to develop better drugs to treat it, but let’s also take more seriously the idea of relieving pain without them.
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