Luis M. Martinez

Agents are constantly challenged to navigate uncertainty in a world that contains far more information that they can process, improving predictability by exploiting regularities from the environment. This frames the challenge of reducing information intractability as the main problem any artificial or biological agent needs to solve. We argue that this challenge is solved through the systematic use of information bottlenecks – a diverse suite of strategies functioning to compress and selectively filter environmental information so as to build tractable representations of the world. We show that such bottlenecks are adaptive and operate across multiple scales, from the evolution of neural circuits and sensory systems to the actions that organisms use in real-time to select and structure their own sensory inputs. A key aspect of our proposal is that information bottlenecks are not only internal and biological, but can also be externalized through actions in the world. By transforming their environments, agents construct external bottlenecks —material and cultural mechanisms that reduce the cost of inference and transmit regularities that are shared across individuals and even across generations. From this perspective, niche construction, material culture and even social and cultural norms, can be also understood as adaptive informational mechanisms, collective information bottlenecks that alter our worlds in ways that promote predictive success. Agents increasingly solve the intractability problem not only through evolutionary changes in their biology and internal neural mechanisms, but by systematically constructing and exploiting information bottlenecks in the world. Culture itself, we suggest, is just such a bottleneck - constructing mechanism. Significance Statement: Understanding a system requires more than describing its structure; it also requires understanding the functions it serves and the operations it performs. In the case of human cognition, we propose the problem of Information Intractability as the operative guiding principle. That is, the world always offers far more information and possible actions than our limited brains, bodies and senses could ever process at once. From this guiding principle, we derive information bottlenecks as the solution to solve this challenge, by generating tractable compressed representations of the world that shape the coevolution of organisms and their environments. This perspective offers a new lens for understanding biological evolution, niche construction, and cultural change as mechanisms that – at multiple scales of space and time – help solve the challenge of information intractability. Seen from this perspective, the human world emerges as a complex dynamic system in which agents continuously shape themselves and the environment to enable more precise and tractable action-guiding representations.

This article proposes a novel computational approach to embodied approaches in cognitive archaeology called computational cognitive archaeology (CCA). We argue that cognitive archaeology, understood as the study of the human mind based on archaeological findings such as artefacts and material remains excavated and interpreted in the present, can benefit from the integration of novel methods in computational neuroscience interested in modelling the way the brain, the body and the environment are coupled and parameterized to allow for adaptive behaviour. We discuss the kind of tasks that CCA may engage in with a narrative example of how one can model the cumulative cultural evolution of the material and cognitive components of technologies, focusing on the case of knapping technology. This article thus provides a novel theoretical framework to formalize research in cognitive archaeology using recent developments in computational neuroscience.

We live in a cluttered visual world that is overflowing with information, the continuous processing of which would be a truly daunting task. Nevertheless, our brains have evolved to select which part of a visual scene is to be prioritized and analysed in detail, and which parts can be discarded or analysed at a later stage. This selection is in part determined by the visual stimuli themselves, and is known as “selective attention”, which, in turn, determines how we explore and interact with our environment, including the distinct human artefacts produced in different socio-cultural contexts. Here we hypothesize that visual responses and material objects should therefore co-evolve to reflect changes in social complexity and culture throughout history. Using eye-tracking, we analysed the eye scan paths in response to prehistoric pottery ranging from the Neolithic through to the Iron Age (ca 6000–2000 BP), finding that each ceramic style caused a particular pattern of visual exploration. Horizontal movements become dominant in earlier periods, while vertical movements are more frequent in later periods that were marked by greater social complexity.

The regenerative activity of adult stem cells carries a high risk of cancer, particularly in highly renewable tissues. To guarantee that the correct organ size is attained and to cope with the continual risk of cancer, developing tissues often use programmed cell death (PCD) as an adaptive mechanism to cull excess and abnormal cells. Members of the family of Inhibitor of Apoptosis Proteins (IAPs) inhibit caspases and cell death and are often overexpressed in cancer. Here, we show that Diap1 is expressed in committed progenitor (enteroblast) cells in the adult Drosophila intestine. Blocking endogenous caspases uncovered that more than half of enteroblasts produced by intestinal stem cells (ISCs) are actively eliminated by apoptosis in the physiological intestine and also led to tumorigenesis. We find that antagonistic interplay between the Notch and EGFR signaling on Diap1 regulation governs the enteroblast cell death or survival decision via the conserved Klumpfuss/WT1-Lozenge/RUNX axis, which also regulates of differentiation plasticity of enteroblasts. These data provide new insights into how apoptosis drives adult tissue renewal and protection against tumors.

The center–surround organization of the receptive fields (RFs) of retinal ganglion cells highlights the presence of local contrast in visual stimuli. As RF of thalamic relay cells follow the same basic functional organization, it is often assumed that they contribute very little to alter the retinal output. However, in many species, thalamic relay cells largely outnumber their retinal inputs, which diverge to contact simultaneously several units at thalamic level. This gain in cell population as well as retinothalamic convergence opens the door to question how information about contrast is transformed at the thalamic stage. Here, we address this question using a realistic dynamic model of the retinothalamic circuit. Our results show that different components of the thalamic RF might implement filters that are analogous to two types of well-known image processing techniques to preserve the quality of a higher resolution version of the image on its way to the primary visual cortex.

Museums, concerts, dance performances and films attract billions of people worldwide. Indeed, visual art and music have been with us essentially from the beginning of our species. This must mean that Art (and hence, artists) succeed to tap into particular and powerful mechanisms in our brain. This artistic success also means that understanding the phenomenon of Art is a key challenge for modern brain research. Could we understand, in biological terms, the unique and fantastic capabilities of the human brain to both create and enjoy art? In the past decade neuroscience has made a huge leap in developing experimental techniques as well as theoretical frameworks for studying emergent properties following the activity of large neuronal networks. These methods, including MEG, fMRI, sophisticated data analysis approaches and behavioral methods, are increasingly being used in many labs worldwide, with the goal to explore brain mechanisms corresponding to the artistic experience. The 37 articles composing this unique Frontiers Research Topic bring together experimental and theoretical research, linking state-of-the-art knowledge about the brain with the phenomena of Art. It covers a broad scope of topics, contributed by world-renowned experts in vision, audition, somato-sensation, movement, and cinema. Importantly, as we felt that a dialog among artists and scientists is essential and fruitful, we invited a few artists to contribute their insights, as well as their art. In this context, we would like to highlight a key similarity between artists and scientists, in particular neuroscientists. Both art and science seek to explain—each with their own unique set of concepts and tools—the unknown. Both science and art often claim to seek the “truth.” The focus of modern brain research is to unravel the physical basis that underlies the emerging capabilities of the brain—perception, behavior, emotions and brain-related diseases, whereas the arts elaborate intricately and persistently on these brain-related properties including diseases (see several papers in this volume on art and brain damage) exploring, and in this process also expanding, the range of brain's perceptual and emotional capacity. This is a unique forte of the arts, which utilize the powerful capacity of the brain to adaptively (plastically) change following perception and action, and propose new ways to view and interpret the world. Indeed, as highlighted in the present volume, art may invoke new “brain states” that are otherwise less likely to be activated by our day-to-day “reality.” Art therefore serves to explore and expand the potential capacity of the brain, e.g., via the recent invention of abstract art (see this volume). In that sense, brain research and the arts are closely interlinked; modern brain researchers have much new to say about the phenomenon of art from a neuro-scientific perspective (hence the new term “Neuroesthetics” coined in by Semir Zeki), whereas artists have a lot to say about how the brain (they typically use the term “mind,” as do cognitive psychologists) dealing with what it perceives (consciously or unconsciously). This artistic exploration of the mind is well summarized in the surrealistic manifesto by André Breton who said “It is by pure psychic automatism by which one intends to express verbally, in writing or by other method, the real functioning of the mind. Dictation by thoughts without any control exercised by reason, and beyond aesthetics or moral preoccupation.” Joan Miró said that “art is the search for the alphabet of the mind.” This volume reflects the state of the art search to understand the neurobiological alphabet of the Arts. We hope that the wide range of articles in this volume will be highly attractive to brain researchers, artists and the community at large. The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest. Keywords: neuroesthetics, creativity, performing-arts, emotion, perception Citation: Segev I, Martinez LM and Zatorre RJ (2014) Brain and art. Front. Hum. Neurosci. 8:465. doi: 10.3389/fnhum.2014.00465 Received: 05 May 2014; Accepted: 07 June 2014; Published online: 27 June 2014. Edited and reviewed by: John J. Foxe, Albert Einstein College of Medicine, USA Copyright © 2014 Segev, Martinez and Zatorre. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) or licensor are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms. *Correspondence: idan@lobster.ls.huji.ac.il