Results by title

Surrealist artist Max Ernst defined collage as the "alchemy of the visual image." Students of his work have often dismissed this comment as simply a metaphor for the transformative power of using found images in a new context. Taking a wholly different perspective on Ernst and alchemy, however, M. E. Warlick persuasively demonstrates that the artist had a profound and abiding interest in alchemical philosophy and often used alchemical symbolism in works created throughout his career.

A revival of interest in alchemy swept the artistic, psychoanalytic, historical, and scientific circles of the late nineteenth and early twentieth centuries, and Warlick sets Ernst's work squarely within this movement. Looking at both his art (many of the works she discusses are reproduced in the book) and his writings, she reveals how thoroughly alchemical philosophy and symbolism pervade his early Dadaist experiments, his foundational work in surrealism, and his many collages and paintings of women and landscapes, whose images exemplify the alchemical fusing of opposites. This pioneering research adds an essential key to understanding the multilayered complexity of Ernst's works, as it affirms his standing as one of Germany's most significant artists of the twentieth century.

One of the most admired artists of the twentieth century, Max Ernst was a proponent of Dada and founder of surrealism, known for his strange, evocative paintings and drawings. In Prehistoric Future, Ralph Ubl approaches Ernst like no one else has, using theories of the unconscious—surrealist automatism, Freudian psychoanalysis, the concept of history as trauma—to examine how Ernst’s construction of collage departs from other modern artists. Ubl shows that while Picasso, Braque, and Man Ray used scissors and glue to create collages, Ernst employed techniques he himself had forged—rubbing and scraping to bring images forth onto a sheet of paper or canvas to simulate how a screen image or memory comes into the mind’s view. In addition, Ernst scoured the past for obsolete scientific illustrations and odd advertisements to illustrate the rapidity with which time passes and to simulate the apprehension generated when rapid flows of knowledge turn living culture into artifact. Ultimately, Ubl reveals, Ernst was interested in the construction and phenomenology of both collective and individual modern history and memory. Shedding new light on Ernst’s working methods and the reasons that his pieces continue to imprint themselves in viewers’ memories, Prehistoric Future is an innovative work of critical writing on a key figure of surrealism.

Examines the role of an influential neurological institute in shaping a new, interdisciplinary science—neuroscience—and advancing it worldwide.
 
Wired Together explains the rise of neuroscience by tracing the history of the Montreal Neurological Institute (MNI) and the men and women who transformed it into neuroscience’s most innovative and productive research site. Opened by neurosurgeon Wilder Penfield in 1934, the MNI pioneered the surgical treatment of epilepsy and transformed the operating theater into a new kind of scientific laboratory for investigating the functions of the brain. But more than that, the MNI became a crucial site for forming new interdisciplinary practices. These involved, as Yvan Prkachin puts it, wiring together new assemblies of physicians, surgeons, and scientists into a growing network that made possible the emergence of an interdisciplinary science of the brain.
 
Wired Together also traces how the MNI and its network of scientists spread this new interdisciplinary neuroscience to the rest of the world. Prkachin uncovers the surprising history of some of the most important neuroscientific organizations, discoveries, theories, and instruments from their beginnings in Montreal through the complex international networks of the post-war sciences. In doing so, he tells the stories of the most crucial and least understood characters from early neuroscience—such as Brenda Milner, Donald Hebb, Herbert Jasper, Molly Harrower, and David Hubel—as well as the surprising origins of scientific practices and ideas like sensory deprivation, multiple forms of memory, and artificial neural networks.