“Why is music capable of inflicting such pain? Because it works on our feelings directly. No ideas interfere with its emotions. This is why "all art aspires to the condition of music." The symphony gives us the thrill of uncertainty--the pleasurable anxiety of searching for a pattern--but without the risks of real life. When we listen to music, we are moved by an abstraction. We feel, but we don't know why.”

“How do we regulate our emotions? The answer is surprisingly simple: by thinking about them. The prefrontal cortex allows each of us to contemplate his or her own mind, a talent psychologists call metacognition. We know when we are angry; every emotional state comes with self-awareness attached, so that an individual can try to figure out why he's feeling what he's feeling. If the particular feeling makes no sense—if the amygdala is simply responding to a loss frame, for example—then it can be discounted. The prefrontal cortex can deliberately choose to ignore the emotional brain.”

“While human nature largely determines how we hear the notes, it is nurture that lets us hear the music.”

“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.”

“Knowledge can be a subtle curse. When we learn about the world, we also learn all the reasons why the world cannot be changed. We get used to our failures and imperfections. We become numb to the possibilities of something new”

“We need to be willing to risk embarrassment, ask silly questions, surround ourselves with people who don't know what we're talking about. We need to leave behind the safety of our expertise.”

“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”