by Piper Hutson, co-author of Sensemaking and Neuroaesthetics: Neuroarts and the Spectrum of Neurodiverse Experiences

In our sensory-rich world, the perception of art and aesthetics is as varied as the neurological diversity among individuals. The emerging field of Neuroarts, situated at the intersection of artistic expression and cognitive science, is pioneering new approaches to inclusion. This innovative field challenges the traditional, often limited sensory experiences provided in public and cultural spaces, which have rarely considered the needs of neurodivergent individuals. Instead, Neuroarts aims to reshape these experiences by introducing controlled lighting, specific soundscapes, or tactile engagements, making art accessible and enjoyable for everyone, regardless of their sensory preferences or neurological profiles.

Grounded in the theory of enactivism, which posits that our environment actively shapes our cognitive processes, the approach to neuroinclusion emphasizes the importance of creating environments engaging all senses to support diverse neurological needs. By deliberately designing spaces with these principles in mind, we can foster environments which include and celebrate neurological diversity.

Cultural institutions such as museums and galleries are uniquely positioned to champion inclusivity. By adopting sensory-friendly designs and inclusive programming, these institutions can lead the movement toward a more inclusive society. Practical implementations like creating sensory maps, offering tactile tours, and utilizing augmented reality to personalize sensory experiences can significantly alter how individuals with various neurological conditions experience and interact with art. These adjustments ensure that cultural spaces are not only physically accessible, but are also sensorially and cognitively accommodating to all visitors.

The integration of art and neuroscience through Neuroarts enhances the experience for neurodivergent individuals by customizing sensory experiences to meet their unique needs which creating opportunity to educate and increase empathy among the neurotypical population. By leveraging emerging technologies, such as artificial intelligence and augmented reality, Neuroarts can facilitate a deeper understanding across neurodiverse spectrums. For example, immersive art installations which adapt sensory inputs in response to a user's feedback can dramatically improve the accessibility and enjoyment of art. This transformation turns cultural spaces into inclusive environments where all visitors, regardless of their sensory profiles, can fully engage and participate equally.

Moreover, the research into Neuroarts highlights the importance of rethinking how we categorize 'neurotribes' within contemporary society. By exploring and discussing neurotribes in terms of how individuals interact with and process their environments, a new framework allows for understanding diverse cognitive experiences. This approach is crucial for developing better support systems tailored to the specific needs of different neurotribal groups, facilitating a shift towards a more inclusive understanding of neurodiversity.

The field of Neuroarts, combined with understanding sensory experiences, offers a compelling vision of how we can use art and science collaboratively to address and embrace the wide spectrum of human neurocognitive diversity. By continuing to explore and expand the possibilities of Neuroarts, cultural institutions and public spaces can become beacons of diversity, understanding, and accessibility. Collaborating to ensure cultural landscapes are as diverse as the neurotribal affiliations they aim to serve is crucial. This ongoing conversation about neuroinclusion through aesthetics is vital to ensuring every individual has the opportunity to engage with and contribute to the shared cultural heritage in meaningful ways.

Piper Hutson, neurodivergent art curator and instructor with over sixteen years of experience, specializing in 19th-century British art, art education, and inclusivity in cultural heritage collections for neurodiverse populations. She previously served as a Corporate Art Curator for 13 years and continues as an instructor at Lindenwood University.