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Proust Was a Neuroscientist
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Proust Was a Neuroscientist

3.82  ·  Rating details ·  6,992 Ratings  ·  654 Reviews
Since the dawn of the modern age, science's greatest contribution to the world has been its ability to unravel the mystery, to break down the inner working of the universe to its component parts: atoms and genes. Its greatest detriment to the world has been its unfettered desire to play with and alter them: science for science's sake, as if it offered the only path to know ...more
Kindle Edition, 257 pages
Published (first published 2007)
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One of my most admired scientists is Dr. Eric Kandel, not only for his research work regarding the reductionist molecular approach of how our memory works (which got him the Nobel in Physiology or Medicine in the year 2000), but also for his remarkable ability explaining in such an elegant prose how our mind works through art perception. This book is not about Dr. Kandel's life or scientific contributions, but the reason I dare to open with this information is because the author, Jonah Leher wor ...more
Sep 23, 2008 rated it liked it  ·  review of another edition
Lehrer used to be a lab technician in a neuroscience lab. His lab work involved investigating memory. He would read Proust while waiting for his experiments to finish. Then it dawned to him that Proust was right about memory long before modern neuroscience got it right. And that was the forming idea for this book. Lehrer describes a few artists and their works to show that a lot of times artists discover truths about human nature while scientists of their time still have it wrong. Art foretellin ...more
Apr 19, 2008 rated it it was amazing  ·  review of another edition
Recommends it for: oliver sacks fans, artists, alicias
Proust Was a Neuroscientist turned out to be the book I'd been looking to read for a long time. Apparently there have been quite a few books prior to this one about the "third culture," the bridge between art and science (and unfortunately I've not read any of them) —Lehrer mentions E.O. Wilson's Consilience and Ian McEwan's Saturday (a kind of update on Virginia Woolf's Mrs. Dalloway ) as unsuccessful and successful works on the subject, respectively— but I was very pleased with the scope ...more
Jenna Los
The premise of this book is great, but the author fails to make good enough connections half the time. A few of the chapters are fabulous and he should have quit while he was ahead, but I suppose that would have left a short book. My advice is to only read these chapters: 3 - Auguste Escoffier and The Essence of Taste (best chapter); 4 - Marcel Proust and The Method of Memory; and Igor Stravinsky and The Source of Music (2nd best chapter). Chapters 5 & 7 are also okay if you have more time, ...more
Nov 25, 2009 rated it it was ok  ·  review of another edition
This review has been hidden because it contains spoilers. To view it, click here.
Oct 18, 2007 rated it really liked it  ·  review of another edition
A fun and quick read that attempts to show how late-19th and early-20th Century artists presaged modern neuroscience. Each artist gets his or her own chapter and is paired with a scientific correlate. Here is the order of the pairings:

1) Walt Whitman - Feeling
2) George Eliot - Freedom
3) Auguste Escoffier - Taste
4) Marcel Proust - Memory
5) Paul Cezanne - Sight
6) Igor Stravinsky - Music
7) Gertrude Stein - Language
8) Virginia Woolf - Self

My only major problem with the book is that the author repeat
Jul 12, 2009 rated it did not like it  ·  review of another edition
You have no idea how much it pains me to dislike a book that Oliver Sacks hails as brilliant, but dear god, I found this tepid, unproven, and faintly ridiculous in turn. Lehrer never actually proves his thesis - that artists of several kinds anticipated the discoveries of neuroscience by several decades. Instead he describes a neuroscientific discovery and reads back into the work of selected artists a definitive revelation they never sought or articulated - the cause and effect he sees plainly ...more
Jennifer de Guzman
Sep 06, 2008 rated it really liked it  ·  review of another edition
Shelves: nonfiction
Jonathan Lehrer examines the avante garde work of eight artists -- one poet (Walt Whitman), four novelists (George Eliot, Marcel Proust, Gertrude Stein, and Virginia Woolf), one painter (Paul Cezanne), one composer (Igor Stravinsky), and one chef (Auguste Escoffier) -- and shows how it anticipated scientific principles that would later be discovered. The eight essays are absorbing, and Lehrer writes about science in a way that is accessible and enlightening for those more familiar with the human ...more
Sep 13, 2011 rated it it was amazing  ·  review of another edition
This is a truly perceptive book, about the linkages between art/language/music/cooking/writing and the science of the brain. Each chapter focuses on a different artist, and the insights of his/her artistry into the workings of the brain. I especially appreciated the chapter about Escoffier, the French chef who invented the concept of a restaurant menu. He discovered and put to use the taste of umami, a distinct reaction of taste buds to glutamate. He had a deep understanding about the effects of ...more
I think that Lehrer's thesis is flawed. When he says that art is ahead of science, it doesn't really mean anything to me. Proust describes a connection between smell and memory before neuroscientists demonstrated that there was one, but that is not because he is an artist or because he had some special insight into memory that scientists couldn't or didn't have. He describes memory in this way because he is a human and that is how the memory system is set up. Before Proust, I am sure many many p ...more
Apr 07, 2012 rated it really liked it  ·  review of another edition
Shelves: ebooks
What an unusual book, about art and science, and how artists:poets, novelists, painters and even a chef intuited how the self sees and feels long before scientists did. The book Age of Wonder shows that 18th and early 19th century poets and scientists considered themselves collaborators.

Those happy days had ended by the time Walt Whitman arrived on the scene, allowing nothing to be deemed truth unless it could be observed, measured and manipulated.

Nevertheless, Whitman, who cared for soldiers in
May 26, 2010 rated it it was amazing  ·  review of another edition
Shelves: non-fiction
Wondrous, amazing book. Thank you to my goodread friends who recommended it. A delight from start to finish. I love the insights into both momentous modernist creative works and science. I loved how he covered the senses of taste, sight and hearing as well as memory and consciousness and the structure of language. Diverse, informative and eye-opening.
Feisty Harriet
I have wanted a book like this for a VERY long time, Lehrer writes eight essays about groundbreaking artists and their work as it is reflected in neurology principles, most of which weren't discovered and principle-ized until well after the artist's work was published (and, more likely, the artist was long dead and gone). This bridge of art and science was glorious in every way and I think I must own this book to flip back through my favorite sections again and again. (Featured artists: Walt Wh ...more
Dan Russell
Oct 03, 2011 rated it liked it  ·  review of another edition
Recommends it for: science lovers
Lehrer does a clever thing by taking a slice through contemporary neuroscience as seen from the perspective of different authors. Considering the nature of emotions by reading Whitman’s “Leaves of Grass” or memory by looking through the eyes of Proust’s “Remembrance of Things Past” allows the author to weave together science as revealed by art. I’m not sure I believe his basic argument that art precedes science—he’s cherry-picking the data here to only show positive examples and ignores the vast ...more
Oct 10, 2011 rated it it was amazing  ·  review of another edition
I rarely read nonfiction. When I do I expect it to be accessible, interesting, and to inform me. The best kind of books, fiction or nonfiction, are the ones that make me think differently. This book completely changed the way I thought about literary heavy hitters and artists of all kinds. It concerns a subject near and dear to my heart: the relationship between art and science. Being an English major, I'm more often than not spotted with a Stephen King novel in my hand, Hemingway or McCarthy if ...more
Lehrer argues that many 20th and 21st-century discoveries of neuroscience are actually re-discoveries of insights made earlier by various artists, including Gertrude Stein, Walt Whitman, Paul Cézanne, Igor Stravinsky, and, as mentioned in the title, Marcel Proust. It is really an exploration into the old Science vs. Art debate. As such it has some refreshing and thought-provoking ideas, although they are somewhat speculative. Lehrer takes the reader into the dusty corners of literary history, po ...more
Aug 23, 2012 rated it it was amazing  ·  review of another edition
Shelves: neuroscience
This book was fascinating in that two of my passions are neuroscience and art, the topics studied in Jonah Lehrer's writing and the main reason that I chose this book.

It focused mostly on authors, painters, a chef and a musician whose perspectives on the mind far preceded their time and were ahead of the ongoing studies and findings of neuroscience in general. For example, Virginia Woolf's thoughts were somewhat progressive for her era. They came primarily from her own experiences and the endles
Mar 11, 2012 rated it it was amazing  ·  review of another edition
A very interesting, well written well researched book about the parallels between art and neuroscience as shown in the works of artists such as Whitman, Proust, Stravinsky, Cezanne. Woolf's treatment of the self and Proust's treatment of memory, for example, correspond to the discoveries about how our brain works. If you believe, as I do, that science is an art and that art is a science, this book will be fascinating. Not the least of it's merits are the light it sheds on the life of the artist' ...more
Κατερίνα Τσαγκαράκη
Σε ορισμένα κεφάλαια, είναι εντυπωσιακές οι παρατηρήσεις του, ενώ σε κάποια άλλα κάπως λιγότερο πειστικές. Πάντως, το βιβλίο διαβάζεται με αμείωτο ενδιαφέρον και προσφέρει καινούρια και ενδιαφέρουσα γνώση.

Περισσότερα εδώ:
Lina Slavova
May 25, 2016 rated it really liked it  ·  review of another edition
The author of the book, Jonah Lehrer, used to be a technician in a neuroscience lab where he was trying to understand how the mind remembers. It was at that time that he began reading Proust. He realised, to his surprise, that what Proust was describing in prose coincided with the new neuroscientific discoveries about memory. 

This lead to his basic idea of the book: there are many ways of describing reality and each of the methods is capable of generating truth. He goes to show that neuroscience
Apr 26, 2012 rated it liked it  ·  review of another edition
Yes, Jonah Lehrer is a gifted writer. He has a wonderful way with words. He’s extremely knowledgeable and well-read, and he’s also very good at discussing a variety of complicated topics. I should have fallen in love with this book. It attempts to combine my two great loves: the arts, and the sciences. It covers a diversity of creative enterprises, from autobiographical writing to cooking, and connects them to fascinating new insights provided by neuroscience, biochemistry, and so on. So what th ...more
Courtney Johnston
Jonah Lehrer argues through eight case studies - Walt Whitman, George Eliot, Auguste Escoffier, Marcel Proust, Paul Cezanne, Igor Stravinsky, Gertrude Stein, Virginia Woolf - that "celebrated artists discovered truths - real, tangible truths - about the mind, anticipating the findings of neuroscience." From the blurb:

We learn how Proust revealed the fallibility of memory, how George Eliot understood the brain's malleable nature, how the French chef Escoffier intuited umami (the fifth taste), how
Aug 09, 2009 rated it really liked it  ·  review of another edition
Lehrer has a clever idea for a nonfiction book: take a retroactive scan across the arts and expose scientific visionaries who "predicted" neuroscientific theory ahead of their time. Sampling mostly from popular 19th and 20th century artists (Woolf, Cézanne, Stein, Proust, etc), Lehrer's greatest feat is to successfully find the red thread tying together post-impressionist painters, upscale French chefs, modernist writers, composers, and poets. His main thesis is that each of these arts have cont ...more
Aug 12, 2010 rated it it was amazing  ·  review of another edition
Recommends it for: Karen, Susan, Denise, Cynthia and anybody interested in art and science.
The profound understanding of human nature we feel good art shows is officially not an illusion. Lehrer discusses the intimations great artists had about the nature of the brain, consciousness, perception, and senses that have been confirmed by recent scientific research. In particular, he chooses a few great writers, a painter, a composer, and a chef and shows how their insights proved to be true in light of modern experimental science. He talks about Walt Whitman, and his insight into the lack ...more
Nov 18, 2014 rated it it was amazing  ·  review of another edition
Really fascinating combination of neuroscience and art. I know that many would argue that by all laws of probability, some artists (chefs, writers, painters, etc.) would have to be right about the way that the human brain worked, and that likewise, there are probably 1,000 times more who got it wrong. That being said, the complexity of perception, taste, and senses that these artisans got right makes for a fascinating narrative, with the research science layered on top. Particularly, the section ...more
Feb 24, 2008 rated it it was amazing  ·  review of another edition
Shelves: audio-book
I really loved this book. Then again, I am a geek. Anyone who is a dedicated RadioLab listener will recognize many of the stories of neuroscience that Lehrer tells, as several have been featured on that program, as has Lehrer. And actually, as a reader, this is a good thing. It's kind of like when you'd hit a new topic in a class in school and you'd already had some experience with that topic from somewhere else, so you didn't have to start from ground zero. And with tough content, that's helpfu ...more
Prima Seadiva
Jun 01, 2016 rated it did not like it  ·  review of another edition
Shelves: did-not-finish
Audio version. Reader so so.
To me the book was not well written and incredibly dull. The author alternating lists of scientific facts I didn't remember 5 seconds later (usually I can at least manage 10), applying neuroscience theories to past events then stating (to me at least) the most obvious notion that artists,writers and cooks access the non-logical sides of their brains in their art before scientists knew.

Since I did not finish I never did find out why the author thought Proust was a ne
Jun 16, 2009 rated it really liked it  ·  review of another edition
This book says a lot of fascinating things, but I can't escape the feeling that it is watered down science and simplified literary criticism. All in all, it is a good read with plenty of thought-provoking topics condensed into eight chapters. Not too challenging of a read, but it points to and references works that are more challenging and sheds some light on the ridiculousness of the "cultural divide" between sciences and humanities. The problem with this book,is that it assumes the popular tak ...more
Mar 19, 2012 rated it really liked it
"It is imperative that we give up the idea of ultimate sources of knowledge, and admit that all knowledge is human; that it is mixed with our errors, our prejudices, our dreams, and our hopes; that all we can do is grope for the truth even thought it is beyond our reach. There is no authority beyond the reach of critcism." Karl Popper

The overall theme is that art and science need each other to form the most complete picture. Although I enjoyed the whole book, but I really identified with Chapter
Aug 12, 2012 rated it liked it  ·  review of another edition
Although Lehrer sets up the argument that the arts are important investigations akin to scientific investigation, he doesn't really back up his thesis statement in the text itself. Mostly this book is his love letter to particular artists. He tends to focus on one artist per artistic discipline, and in focusing on that one artist's contributions he sets up that artist against all of art history prior to him or her. The result is that we get the sense not that art is an ongoing investigation, but ...more
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Brain Science Pod...: Can the Arts inform Neuroscience? 6 48 Mar 19, 2014 06:15AM  
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“Every brilliant experiment, like every great work of art, starts with an act of imagination. Unfortunately, our current culture subscribes to a very narrow definition of truth. If something can’t be quantified and calculated, then it can’t be true. Because this strict scientific approach has explained so much, we assume that it can explain everything. But every method, even the experimental method, has limits. Take the human mind. Scientists describe our brain in terms of its physical details; they say we are nothing but a loom of electrical cells and synaptic spaces. What science forgets is that this isn’t how we experience the world. (We feel like the ghost, not like the machine.) It is ironic but true: the one reality science cannot reduce is the only reality we will ever know. This is why we need art. By expressing our actual experience, the artist reminds us that our science is incomplete, that no map of matter will ever explain the immateriality of our consciousness.” 24 likes
“Like a work of art, we exceed our materials. Science needs art to frame the mystery, but art needs science so that not everything is a mystery. Neither truth alone is our solution, for our reality exists in plural” 13 likes
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