I recently spent an evening speaking at the Rubin Museum in NYC with punk rock legend, writer, and spoken word artist Henry Rollins.  We discussed the origin, meaning, neuroscience, and bizarreness of dreams. 

From the Blog

  • Eagleman and Eno perform Sum
    Eagleman and Eno perform Sum

    Brian Eno and I have twice performed a musical version of Sum, once at the Sydney Opera House, and once at the Brighton Dome. Learn more.

  • Emily Blunt reads "The Cast" from Sum
    Emily Blunt reads "The Cast" from Sum

     Hear actress Emily Blunt read the story "The Cast" from Sum.

  • Breivik's Brain
    Breivik's Brain

    What could explain Anders Breivik's shooting attack in Oslo, Norway? While this is debated from the angles of politics, religion, and sociology, I want to ask this from the viewpoint of neurobiology.

  • The Mystery of Expertise
    The Mystery of Expertise

    To the extent that consciousness is useful, it is useful in small quantities, and for very particular kinds of tasks. It's easy to understand why you would not want to be consciously aware of the intricacies of your muscle movement, but this can be less intuitive when applied to your perceptions, thoughts, and beliefs, which are also final products of…

Newsflashes

McGovern Award for excellence in Communication

David was honored to receive the 2014 John J. McGovern Award for Excellence in Biomedical Education from the American Medical Writers' Assocation. Noted past recipients include authors Oliver Sacks and Abraham Verghese.

SUM at the Royal Opera House

ROHSUM has been turned into an opera at the Royal Opera House in London (Composer: Max Richter, Director: Wayne McGregor). The London Evening Standard hails the opera as "immersive, meditative and sweetly fascinating". Read about the background of the collaboration in Wired.

New Yorker magazine profile

Read a profile of David in The New Yorker: The Possibilian: What a brush with death taught David Eagleman about the mysteries of time and the brain by Burkhard Bilger.
Eagleman in the New Yorker

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