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Although PEM is the first museum to hire a neuroscientist in residence, other institutions have explored the artistic potential of scientific research. The Tate Britain, a museum in London, presented an exhibition in 2015 called the Tate Sensorium. Recognizing that sight is only one of the senses, the museum paired four paintings from its collection with a variety of tastes, smells, sounds, and haptic sensations. As part of the exhibit, visitors wore specialized wristbands to measure their perspiration, used as an indication of their excitement. In this way, the Tate attempted to use the latest in scientific and technological research to aid in the appreciation of art and to measure its effect.

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Fetal Alcohol Spectrum Disorder (FASD) is a lifelong disability that affects the brain and body of a person exposed to alcohol in the womb. No two people with FASD are the same, it is helpful to understand FASD as a brain difference.

We have developed a series of tools using a strengths-based and harm-reduction approach. This includes key messages, shareable graphics, posters, a discussion guide, and a list of FASD-specific resources all housed in one digital toolkit that can be easily shared across Inuit communities and with people and professions that engage with Inuit with FASD.

Here you can find a list of resources and services that can help you learn about FASD, seek support for yourself or a loved one, and how you can make a difference for people with FASD. Have we missed an organization or resource? Let us know at fasdcop@pauktuutit.ca

During the past year, we have been having two kinds of conversations about FASD. First, we have been interviewing health care workers, frontline providers, people in education and social services, as well as anyone who works in the field of family health and FASD, on the topics of alcohol consumption, maternal and infant health and FASD. Second, we have been having conversations with volunteer participants in communities and in specific urban centers around the same topics. These conversations were focused on personal experiences. The information and stories provided in these conversations has been compiled into a final research report, that identifies how FASD is understood, how individuals living with FASD are supported within our communities, and the social and physical barriers that can prevent families from accessing the appropriate services or level of care required to meet their unique needs.

The value in asking those kinds of questions, says Susan Magsamen, executive director of the IAM Lab, is in our ability to leverage neuroaesthetics through evidence-based interventions that may help change our behavior, amplify our potential, and improve our health, well-being, and capacity for learning. Magsamen points to research that shows how music has the capacity to lower blood pressure, pain, and anxiety, and how the act of creating art can open brain pathways that have been damaged by trauma. Magsamen likes to say that everything is an aesthetic experience. The cities we traverse, the rooms in which we live and work, and the sounds, sights, and smells we encounter throughout our day, all impact how we feel. "Neuroaesthetics is the study of how our brain and biology change [from exposure to] the arts," Magsamen says, and she expands the definition to include not just the human-made but nature as well. "I always say nature is the mother of all arts."

Researchers at Johns Hopkins began exploring questions of neuroaesthetics more than a decade ago, even before the term was formally applied to their work. In 2008, Charles Limb, then a professor of otolaryngology at Johns Hopkins Medicine and a musician who plays multiple instruments including the saxophone, famously put jazz musicians in an fMRI machine to see what happened to their brains when they improvised on the piano. "Spontaneous artistic creativity is often considered one of the most mysterious forms of creative behavior," Limb and his co-authors wrote in the study findings, and they aimed to help demystify it. The study showed that when a piano player became more creative and started to improvise, the activity in the area of the prefrontal cortex associated with self-monitoring went down while the activity in the prefrontal cortex area associated with self-expression increased. The players became less inhibited as a result.

In 2008, philanthropist Marilyn Pedersen and her family made a gift to the Brain Science Institute to enable researchers at Johns Hopkins to explore the connection between aesthetics and the brain. BSi helped to fund the work of Limb, Connor, and others, and in 2010, the institute, with Magsamen's help, convened an international conference at Hopkins called The Science of the Arts.

Ross chose Suchi Reddy, founder and principal of Reddymade architecture and design firm, as the architect for the installation. Reddy has replaced the modernist's popular mantra that "form follows function" with a more sensory-based one. "I have always said that form follows feeling," she says. "I think of architecture as embodied art. It's about holistically experiencing our world through all of our senses, and so architecture is the perfect matrix for considering neuroaesthetics."

The team decided that the primary goal would be to create a series of spaces that could put a person at ease. To quantify this effect, they gave visitors a soft wearable band with sensors, developed by Google, capable of measuring biometrics and physiology, such as heart rate.

After refining prototypes of the designs at Google's Mountain View campus, they went to Milan. Visitors waited as long as three hours to enter the exhibit, where they put on the Google band and were instructed to spend five quiet minutes in each room. They could touch and engage with the art, the furniture, and the objects, but they could not talk.

Participants first entered a neutral space, a "palate cleanser" as Reddy calls it, to prepare them for the experience. Next, they entered the "Essential" room, what Reddy describes as a womblike space with soft curves and warm colors. Next came the "Vital" room, which used brighter hues, dynamic lighting, and playful colors. Finally there was the "Transformative" room, which "we wanted to feel almost spiritual without saying that word given that it might have strange connotations to some," Reddy says. "The lighting in this room was more diffuse; you didn't even see the source of it. It felt like it was just draping over the walls. The walls themselves were higher and the materials were extremely elegant. We commissioned artworks that were made out of burnt wood," Reddy says. Suchi also inserted those neutral, palate-cleanser spaces between each room to help transition people from one concept to the next.

Upon exiting, participants placed their Google band in a tray, and an algorithm read their biomarkers and offered a data visualization on a computer screen depicting their experience in each room. (This data was not stored by Google for future use; rather it was given only to the specific user to make "the invisible visible and give them a reflection of themselves as a human in relationship to their world," Reddy says.) The data was presented as a watercolor inkblot circle that mapped the person's real-time, five-minute experience in the room as if on a clock. The colors of the circle would flare when the person had more active moments based on their biofeedback, or thin when they were registering as more tranquil. Participants were given a printout of the circle with the name of the room in which their biology registered most at ease. "I believe that even the way we reflect the data should be aesthetic," Ross says. "You take in information differently, I think, when it's served up in an aesthetic way rather than looking at numbers and graphs."

The goal of A Space for Being was to begin to illuminate for people that their rational minds may not always be in sync with their bodies. This was an experience, Ross says, designed to remind people "that even though our minds might be active all the time, our bodies are active as well. They may have really liked one room, but clearly their body felt more comfortable in a different room, and that awareness is valuable. What we really wanted to do was give people a mirror to reflect back to themselves the fact that the body is always feeling, and sometimes it might even be different from what your mind is thinking," Ross says.

Johns Hopkins neurologist Alexander Pantelyat compares neuroaesthetics to the burgeoning field of precision medicine, where genetics and individual physiology determine care. Pantelyat has been studying the ways in which music alleviates symptoms in patients with Parkinson's disease, and in 2017 he helped co-found the Johns Hopkins Center for Music and Medicine, a partnership with the Johns Hopkins Peabody Institute. Pantelyat often partners with the IAM Lab, and similarly, his program aims to research and identify the ways in which music therapy can work in tandem with traditional medicine to alleviate disease symptoms. In talking to clinicians, Pantelyat is noticing a much more open mind about the arts being integrated into traditional therapies. "I think culturally the moment is ripe for this kind of multidisciplinary collaboration between music and medicine," he says.

After Milan, Ross says journalists asked her whether Google planned to make a wristband that tells people how they feel. "I do not want to live in a world where we have to wear a band to tell us how we feel," Ross says. "This whole exhibit was meant to bring awareness to our feelings and remind us that we do have agency over our situation in terms of what we surround ourselves with and the spaces we live in." be457b7860