Abstract Details

Examples of Neural Anatomy Found Throughout Art History and How it Relates to Consciousness  Brad Klausen (KINGSTON, WA )   P1

Found cross culturally throughout art history we can see a brilliant symbolic and didactic system of encoding a synthesis of scientific information about biology, physiology, neurology and consciousness within the works of art of our ancestors. Works of art ranging from statuary, paintings, architecture and poetry / literature, in which our ancestors used form, symbol, analogy, metaphor and parable to trans-lingually and trans-culturally relay scientific knowledge about the structural and functional anatomy of the brain and body, and how the physiology (more specifically the neurophysiology) of the human body can be refined in order to achieve higher neural connectivity and thereby higher states of consciousness, or what Michael Winkleman refers to as an "integrative mode of consciousness", in which different forms of knowing are accessible. Looking at works of art such as the ram sphinxes of the Egyptian temple at Karnak, or the enigmatic statues of Artemis or Diana of Ephesus, and even one of the most famous and earliest works of art in art history: the Venus of Willendorf, one can begin to see multiple close correlations to the forms, shapes, and compositions of the human brain stem. Looking at the architectural layout and form of temples across cultures, we see a known common feature of the use of the human body as the blueprint for the construction of the temple, with the Holy of Holies of the temple, or the most sacred sanctuary, always sitting in the place of the brain, more specifically the place of the third ventricle. Synthesizing the work of the religious scriptures and mythologies of man, when not read literally, a recurring set of symbols, themes and motifs within a multi-layered system of poetic analogy are used to further convey this understanding of the physiology and neurology of consciousness and how man can tap into states of knowing or gnosis. Following the precedents set by Dr. Frank Meshberger and his 1990 JAMA paper showing how Michelangelo depicted a brain around the form of god in his famous painting of "The Creation of Adam" on the Sistine Chapel ceiling and Dr. Alessandro Paluzzi's paper in the 2007 JRSM issue in which he corroborates Meshberger's findings and adds two more Renaissance paintings he and his team believe were depicting neural anatomy, many more examples of this practice of depicting neural anatomy in works of art can be found. Neural anatomy being depicted, not solely for the purpose of cataloging and understanding anatomy for the sake of anatomy, but for the purpose of understanding how neural anatomy functions specifically in regards to higher states of consciousness and knowing. When we look to the artwork of our ancestors, we find a brilliant, trans-lingual, trans-culutral method of recording and communicating scientific knowledge about consciousness and how to incubate and utilize these states to access a more fully hemispherically synchronized brain which through greater holistic neural connectivity is able to amplify cognition and perception.