Academics From Austria

"CPEB is the first self-propogating form of a prion known to serve a physiological function... perpetuation of synaptic facilitation and memory storage."

"Recall of memory is a creative process. What the brain stores is... only a core memory. Upon recall, this memory is then elaborated upon and reconstructed, with subtractions, additions, elaborations, and distortions."

"Each sensory system first analyzes and deconstructs, then restructures the raw, incoming information to its own built-in connections and rules—shades of Immanuel Kant."

"We did not realize that the hippocampus is concerned with perception of the environment and therefore represents multisensory experience..."

"Jacob and Monod found that in bacteria, genes are switched on and off by other genes. This led them to distinguish between effector genes and regulatory genes. Effector genes encode effector proteins... which mediate specific cellular functions. Regulatory genes encode proteins called regulatory proteins, which switch the effector genes on or off."

"Five separate pulses of serotonin, designed to simulate five shocks to the tail, strengthened the synaptic connection for days and led to the growth of new synaptic connections... that did involve the synthesis of new protein."

"Jacob and Monod not only outlined a theory of gene regulation, they also discovered the first regulators of gene transcription. These regulators come in two forms—repressors, genes that encode the regulatory proteins that shut genes off, and as later work showed, activators, genes that encode the regulatory proteins that turn genes on."

"Jacques Monod... published a paper entitled "Genetic Regulatory Mechanisms in the Synthesis of Protein." Using bacteria as a model system, they made the remarkable discovery that genes can be regulated—that is, they can be switched on and off like a water faucet."

"What is learning but a set of sensory signals from the environment, with different forms of learning resulting from different types or patterns of sensory signals?"

"In the period from 1920 to 1960, psychiatry derived its main intellectual impetus from psychoanalysis. During this phase, its most powerful antidisciplines were philosophy and the social sciences. Since 1960, psychiatry has begun (again) to derive its main intellectual challenge from biology, with the result that neurobiology has been thrust into the position of the new antidiscipline for psychiatry."

"As knowledge advances and scientific disciplines change, so do the disciplines impinging on them."

"In the near future, neurobiology will address a matter of more general and fundamental importance: the biology of human mental processes. ...Psychology and psychiatry can illuminate and define for biology the mental functions that need to be studied if we are to have a meaningful and sophisticated understanding of the biology of the human mind."

"Because we do not have a sensory organ dedicated to space, the representation of space is a quintessentially cognitive sensibility: it is the binding problem writ large."

"The growth and maintenance of new synaptic terminals makes memory persist. ...The ability to grow new synaptic connections as a result of experience appears to have been conserved throughout evolution. As an example... the cortical maps of the body surface are subject to constant modification in response to changing input from sensory pathways."

"In the Jacob-Monod model, signals from a cell's environment activate regulatory proteins that switch on the genes encoding particular proteins. This led [Philip] Goelet and me to wonder whether the crucial step in switching on long-term memory in sensitization might involve similar signals and similar gene regulatory proteins."

"The Age of Insight is a product of my... fascination with the intellectual history of Vienna from 1890 to 1918, as well as my interest in Austrian modernist art, psychoanalysis, art history, and the brain science that is my life's work. ...I examine the ongoing dialogue between art and science that had its origins in fin-de-siècle Vienna and document its three major phases."

"Even though I had long been taught that the genes of the brain are the governors of behavior, the absolute masters of our fate, our work showed that, in the brain as in bacteria, genes are also servants of the environment. ...An environmental stimulus... activates modulatory interneurons that release serotonin. The serotonin acts on the sensory neuron to increase cyclic AMP and to cause protein kinase A and MAP kinase to move to the nucleus and activate CREB. The activation of CREB, in turn, leads to the expression of genes that changes the function and the structure of the cell."

"Aspects of visual perception—motion, depth, form, and color—are segregated from one another and conveyed in separate pathways in the brain, where they are brought together and coordinated into a unified perception."

"What biological processes enable me to review my own history with such emotional vividness?"

"Implicit memory is responsible not only for simple perceptual and motor skills but also, in principle, for the pirouettes of Margot Fonteyn, the trumpeting techniques of Wynton Marsalis, the accurate ground strokes of Andre Agassi, and the leg movements of an adolescent. Implicit memory guides us through well-established routines that are not consciously controlled."

"CREB's opposing regulatory actions provide a threshold for memory storage, presumably to ensure that only important, life-serving experiences are learned. Repeated shocks to the tail are a significant learning experience for an Aplysia, just as, say, practicing the piano or conjugating French verbs are to us: practice makes perfect, repetition is necessary for long-term memory. In principle, however, a highly emotional state... could bypass the normal restraints on long-term memory. In such a situation, enough MAP kinase molecules would be sent into the nucleus rapidly enough to inactivate all of the CREB-2 molecules, thereby making it easy for protein kinase A to activate CREB-1 and put the experience directly into long-term memory."

"The fact that a gene must be switched on to form a long-term memory shows clearly that genes are not simply determinants of behavior but are also responsive to environmental stimulation, such as learning."

"Exceptionally good memory exhibited by some people may stem from genetic differences in CREB-2 that limit the activity of this repressor protein in relation to CREB-1."

"By determining law — so far as it is the subject of a specific science of law — as norm, it is delimited against nature; and science of law against natural science. But in addition to legal norms, there are other norms regulating the behavior of men to each other, that is, social norms; and the science of law is therefore not the only discipline directed toward the cognition and description of social norms. There other social norms may be called “morals.” and the discipline directed toward their cognition and description, “ethics.” So far as justice is a postulate of morals, the relationship between justice and law is included in the relationship between morals and law."

"One of the most important elements of Christian religion is the idea that justice is an essential quality of God. Since God is the absolute, his justice must be absolute justice, that is to say, eternal and unchangeable. Only a religion whose deity is supposed to be just can play a role in social life. To attribute justice to the deity in order to make religion applicable to human relations implies a certain tendency of rationalizing something which, by its very nature, is irrational-the transcendental being, the religious authority, and its absolute qualities."

"Justice is primarily a possible, but not a necessary, quality of a social order regulating the mutual relations of men. Only secondarily it is a virtue of man, since a man is just, if his behavior conforms to the norms of a social order supposed to be just. But what does it really mean to say that a social order is just? It means that this order regulates the behavior of men in a way satisfactory to all men, that is to say, so that all men find their happiness in it. The longing for justice is men's eternal longing for happiness. It is happiness that men cannot find alone, as an isolated individual, and hence seeks in society. Justice is social happiness. It is happiness guaranteed by a social order."

"It is called a “pure” theory of law, because it only describes the law and attempts to eliminate from the object of this description everything that is not strictly law: Its aim is to free the science of law from alien elements. This is the methodological basis of the theory."

"The characterization of Kelsen’s pure theory of law as an ideology is here not meant as a reproach, though its defenders are bound to regard it as such. Since every social order rests on an ideology, every statement of the criteria by which we can determine what is appropriate law in such an order must also be an ideology. The only reason why it is important to show that this is also true of the pure theory of law is that its author prides himself on being able to ‘unmask’ all other theories of law as ideologies and to have provided the only theory which is not an ideology. This Ideolologie-kritik is even regarded by some of his disciples as one of Kelsen’s greatest achievements. Yet, since every cultural order can be maintained only by an ideology, Kelsen succeeds only in replacing one ideology with another that postulates that all orders maintained by force are orders of the same kind, deserving the description (and dignity) of an order of law, the term which before was used to describe a particular kind of order valued because it secured individual freedom. Though within his system of thought his assertion is tautologically true, he has no right to assert, as he constantly does, that other statements in which, as he knows, the term ‘law’ is used in a different sense, are not true. What ‘law’ is to mean we can ascertain only from what those who used the word in shaping our social order intended it to mean, not by attaching to it some meaning which covers all the uses ever made of it. Those men certainly did not mean by law, as Kelsen does, any ‘social technique’ which employs force, but used it in order to distinguish a particular ‘social technique’, a particular kind of restraint on the use of force, which by the designation of law they tried to distinguish from others. The use of enforceable generic rules in order to induce the formation of a self-maintaining order and the direction of an organization by command towards particular purposes are certainly not the same ‘social techniques’. And if, because of accidental historical developments, the term ‘law’ has come to be used in connection with both these different techniques, it should certainly not be the aim of analysis to add to the confusion by insisting that these different uses of the word must be brought under the same definition."

"The mark of Platonic philosophy is a radical dualism. The Platonic world is not one of unity; and the abyss which in many ways results from this bifurcation appears in innumerable forms. It is not one, but two worlds, which Plato sees when with the eyes of his soul he envisages a transcendent, spaceless, and timeless realm of the Idea, the thing-in-itself, the true, absolute reality of tranquil being, and when to this transcendent realm he opposes the spacetime sphere of his sensuous perception-a sphere of becoming in motion, which he considers to be only a domain of illusory semblance, a realm which in reality is not-being."

"Law is an order of human behavior. An “order” is a system of rules. Law is not, as it is sometimes said, a rule. It is a set of rules having the kind of unity we understand by a system. It is impossible to grasp the nature of law if we limit our attention to the single isolated rule."

"[About The Story of Art by E.H. Gombrich] It's the introductory bible to our history. And I love it because it is for everyone. The fact that he writes in such beautiful prose that anyone can understand, you want to — you have heard of a term such as the Renaissance or the Baroque, and you can look that up in Gombrich. But he doesn't include any woman artist. He only includes one in his 16th edition, which is crazy. And the fact that I loved this book growing up, I wanted to write — if he was going to leave that women, I thought I'd leave out men."

"Even though I came from a Jewish home myself, it never entered my head that such horrors might be repeated in my own lifetime."

"Women have been artists for millennia, since the cave paintings. And yet Gombrich and Janson, their first editions didn’t include a single woman artist. So it’s actually down to who has been able to tell the story of art history."

"Our memory is like that burning scrap of paper. We use it to light up the past. First of all our own, and then we ask old people to tell us what they remember. After that we look for letters written by people who are already dead. And in this way we light our way back. There are buildings that are just for storing old scraps of paper that people once wrote on – they are called archives. In them you can find letters written hundreds of years ago. In an archive, I once found a letter which just said: 'Dear Mummy, Dear Mummy, Yesterday we ate some lovely truffles, love from William.' William was a little Italian prince who lived four hundred years ago."

"The beginning of the sixteenth century, the Cinquecento, is the most famous period of Italian art, one of the greatest periods of all time. This was the time of Leonardo da Vinci and Michelangelo, of Raphael and Titian, of Correggio and Giorgione, of Dürer and Holbein in the north, and of many other famous masters. One may well ask why it was that all these great masters were born in the same period, but such questions are more easily asked than answered. One cannot explain the existence of genius. It is better to enjoy it."

"If you want to do anything new you must first make sure you know what people have tried before."

"Whether we know it or not, we always approach the past with some preconceived ideas, with a rudimentary theory we wish to test. In this as in many other respects the cultural historian does not differ all that much from his predecessor, the traveller to foreign lands. Not the professional traveller who is only interested in one particular errand, be it the exploration of a country’s kinship system or its hydroelectric schemes, but the broad-minded traveller who wants to understand the culture of the country in which he finds himself."

"I hope and believe cultural history will make progress if it also fixes its attention firmly on the individual human being. Movements, as distinct from periods, are started by people. Some of them are abortive, others catch on. Each movement in its turn has a core of dedicated souls, a crowd of hangers-on, not to forget a lunatic fringe. There is a whole spectrum of attitudes and degrees of conversion. Even within the individual there may be various levels of conviction, various conscious and unconscious fluctuations in loyalty. What seemed acceptable during the mass rally or revivalist meeting may look pretty crazy on the way home. But movements would not be movements if they did not have their badges, their outward signs, their style of behaviour, style of speech and of dress. Who can probe the motives which prompt individuals to adopt some of these, and who would venture in every case to pronounce on the completeness of the conversion this adoption may express? Knowing these limitations, the cultural historian will be a little wary of the claims of cultural psychology."

"We are all inclined to accept conventional forms or colours as the only correct ones. Children sometimes think that stars must be star-shaped, though naturally they are not. The people who insist that in a picture the sky must be blue, and the grass green, are not very different from these children. They get indignant if they see other colours in a picture, but if we try to forget all we have heard about green grass and blue skies, and look at the world as if we had just arrived from another planet on a voyage of discovery and were seeing it for the first time, we may find that things are apt to have the most surprising colours."

"In my own field, the History of Art, it was Alois Riegl who, at the turn of the century, worked out his own translation of the Hegelian system into psychological terms."

"The point is rather that all of them felt, consciously or unconsciously, that if they let go of the magnet that created the pattern, the atoms of past cultures would again fall back into random dust-heaps. In this respect the cultural historian was much worse off than any other historian. His colleagues working on political or economic history had at least a criterion of relevance in their restricted subject matter. They could trace the history of the reform of Parliament, of Anglo-Irish relations, without explicit reference to an all-embracing philosophy of history."

"If Van Eyck's patrons had all been Buddhists he would neither have painted the Adoration of the Lamb nor, for that matter, the Hunting of the Otter, but though the fact that he did is therefore trivially connected with the civilization in which he worked, there is no need to place these works on the periphery of the Hegelian wheel and look for the governing cause that explains both otter hunting and piety in the particular form they took in the early decades of the fifteenth century, and which is also expressed in Van Eyck’s new technique."

"One never finishes learning about art. There are always new things to discover. Great works of art seem to look different every time one stands before them. They seem to be as inexhaustible and unpredictable as real human beings."

"Like art, science is born of itself, not of nature. There is no neutral naturalism. The artist, no less than the writer, needs a vocabulary before he can embark on a 'copy' of reality."

"Images apparently occupy a curious position somewhere between the statements of language, which are intended to convey a meaning, and the things of nature, to which we only can give a meaning."

"There really is no such thing as Art. There are only artists."

"Anyone who can handle a needle convincingly can make us see a thread which is not there."

"The true miracle of the language of art is not that it enables the artist to create the illusion of reality. It is that under the hands of a great master the image becomes translucent. In teaching us to see the visible world afresh, he gives us the illusion of looking into the invisible realms of the mind - if only we know, as Philostratus says, how to use our eyes."

"Between stimulus and response lies a space. In that space lie our freedom and power to choose a response. In our response lies our growth and our happiness."

"You may of course ask whether we really need to refer to "saints." Wouldn't it suffice just to refer to decent people? It is true that they form a minority. More than that, they always will remain a minority. And yet I see therein the very challenge to join the minority. For the world is in a bad state, but everything will become still worse unless each of us does his best. So, let us be alert — alert in a twofold sense: Since Auschwitz we know what man is capable of. And since Hiroshima we know what is at stake."