The Mental Life of Modernism
An argument that Modernism is a cognitive phenomenon rather than a cultural one.At the beginning of the twentieth century, poetry, music, and painting all underwent a sea change. Poetry abandoned rhyme and meter; music ceased to be tonally centered; and painting no longer aimed at faithful represent...
में बचाया:
| मुख्य लेखक: | |
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| स्वरूप: | Online |
| भाषा: | अंग्रेज़ी |
| प्रकाशित: |
The MIT Press
2024
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| विषय: | |
| ऑनलाइन पहुंच: | ONIX_20241025_9780262356947_18 |
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कोई टैग नहीं, इस रिकॉर्ड को टैग करने वाले पहले व्यक्ति बनें!
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| _version_ | 1869518204519317504 |
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| author | Keyser, Samuel Jay |
| author_browse | Keyser, Samuel Jay |
| author_facet | Keyser, Samuel Jay |
| author_sort | Keyser, Samuel Jay |
| collection | Directory of Open Access Books |
| description | An argument that Modernism is a cognitive phenomenon rather than a cultural one.At the beginning of the twentieth century, poetry, music, and painting all underwent a sea change. Poetry abandoned rhyme and meter; music ceased to be tonally centered; and painting no longer aimed at faithful representation. These artistic developments have been attributed to cultural factors ranging from the Industrial Revolution and the technical innovation of photography to Freudian psychoanalysis. In this book, Samuel Jay Keyser argues that the stylistic innovations of Western modernism reflect not a cultural shift but a cognitive one. Behind modernism is the same cognitive phenomenon that led to the scientific revolution of the seventeenth century: the brain coming up against its natural limitations. Keyser argues that the transformation in poetry, music, and painting (the so-called sister arts) is the result of the abandonment of a natural aesthetic based on a set of rules shared between artist and audience, and that this is virtually the same cognitive shift that occurred when scientists abandoned the mechanical philosophy of the Galilean revolution. The cultural explanations for Modernism may still be relevant, but they are epiphenomenal rather than causal. Artists felt that traditional forms of art had been exhausted, and they began to resort to private formats—Easter eggs with hidden and often inaccessible meaning. Keyser proposes that when artists discarded their natural rule-governed aesthetic, it marked a cognitive shift; general intelligence took over from hardwired proclivity. Artists used a different part of the brain to create, and audiences were forced to play catch up. |
| format | Online |
| id | doab-20.500.12854ir-146640 |
| institution | Directory of Open Access Books |
| language | eng |
| publishDate | 2024 |
| publishDateRange | 2024 |
| publishDateSort | 2024 |
| publisher | The MIT Press |
| publisherStr | The MIT Press |
| record_format | ojs |
| spelling | doab-20.500.12854ir-1466402024-10-25T13:14:04Z The Mental Life of Modernism Keyser, Samuel Jay modern art cognitive science aesthetics neuro-aesthetics neuroscience linguistics cognitive linguistics Ashbery, John Ashbery modernist Arnold Schoenberg Jackson Pollock Wallace Stevens Marcel Duchamp John Cage atonal music experimental music avant-garde Picasso Braque cubism postmodernism Chomsky Pinker human nature thema EDItEUR::G Reference, Information and Interdisciplinary subjects::GT Interdisciplinary studies::GTK Cognitive studies thema EDItEUR::A The Arts::AG The Arts: treatments and subjects::AGA History of art thema EDItEUR::6 Style qualifiers::6S Styles (S)::6SA Surrealism thema EDItEUR::Q Philosophy and Religion::QD Philosophy::QDT Topics in philosophy::QDTN Philosophy: aesthetics An argument that Modernism is a cognitive phenomenon rather than a cultural one.At the beginning of the twentieth century, poetry, music, and painting all underwent a sea change. Poetry abandoned rhyme and meter; music ceased to be tonally centered; and painting no longer aimed at faithful representation. These artistic developments have been attributed to cultural factors ranging from the Industrial Revolution and the technical innovation of photography to Freudian psychoanalysis. In this book, Samuel Jay Keyser argues that the stylistic innovations of Western modernism reflect not a cultural shift but a cognitive one. Behind modernism is the same cognitive phenomenon that led to the scientific revolution of the seventeenth century: the brain coming up against its natural limitations. Keyser argues that the transformation in poetry, music, and painting (the so-called sister arts) is the result of the abandonment of a natural aesthetic based on a set of rules shared between artist and audience, and that this is virtually the same cognitive shift that occurred when scientists abandoned the mechanical philosophy of the Galilean revolution. The cultural explanations for Modernism may still be relevant, but they are epiphenomenal rather than causal. Artists felt that traditional forms of art had been exhausted, and they began to resort to private formats—Easter eggs with hidden and often inaccessible meaning. Keyser proposes that when artists discarded their natural rule-governed aesthetic, it marked a cognitive shift; general intelligence took over from hardwired proclivity. Artists used a different part of the brain to create, and audiences were forced to play catch up. 2024-10-25T13:14:02Z 2024-10-25T13:14:02Z 2020 book ONIX_20241025_9780262356947_18 9780262356947 9780262043496 https://directory.doabooks.org/handle/20.500.12854/146640 eng The MIT Press image/jpeg n/a https://doi.org/10.7551/mitpress/11966.001.0001 The MIT Press The MIT Press 10.7551/mitpress/11966.001.0001 10.7551/mitpress/11966.001.0001 ae0cf962-f685-4933-93d1-916defa5123d 9780262356947 9780262043496 The MIT Press 240 Cambridge open access |
| spellingShingle | modern art cognitive science aesthetics neuro-aesthetics neuroscience linguistics cognitive linguistics Ashbery, John Ashbery modernist Arnold Schoenberg Jackson Pollock Wallace Stevens Marcel Duchamp John Cage atonal music experimental music avant-garde Picasso Braque cubism postmodernism Chomsky Pinker human nature thema EDItEUR::G Reference, Information and Interdisciplinary subjects::GT Interdisciplinary studies::GTK Cognitive studies thema EDItEUR::A The Arts::AG The Arts: treatments and subjects::AGA History of art thema EDItEUR::6 Style qualifiers::6S Styles (S)::6SA Surrealism thema EDItEUR::Q Philosophy and Religion::QD Philosophy::QDT Topics in philosophy::QDTN Philosophy: aesthetics Keyser, Samuel Jay The Mental Life of Modernism |
| title | The Mental Life of Modernism |
| title_full | The Mental Life of Modernism |
| title_fullStr | The Mental Life of Modernism |
| title_full_unstemmed | The Mental Life of Modernism |
| title_short | The Mental Life of Modernism |
| title_sort | mental life of modernism |
| topic | modern art cognitive science aesthetics neuro-aesthetics neuroscience linguistics cognitive linguistics Ashbery, John Ashbery modernist Arnold Schoenberg Jackson Pollock Wallace Stevens Marcel Duchamp John Cage atonal music experimental music avant-garde Picasso Braque cubism postmodernism Chomsky Pinker human nature thema EDItEUR::G Reference, Information and Interdisciplinary subjects::GT Interdisciplinary studies::GTK Cognitive studies thema EDItEUR::A The Arts::AG The Arts: treatments and subjects::AGA History of art thema EDItEUR::6 Style qualifiers::6S Styles (S)::6SA Surrealism thema EDItEUR::Q Philosophy and Religion::QD Philosophy::QDT Topics in philosophy::QDTN Philosophy: aesthetics |
| topic_facet | modern art cognitive science aesthetics neuro-aesthetics neuroscience linguistics cognitive linguistics Ashbery, John Ashbery modernist Arnold Schoenberg Jackson Pollock Wallace Stevens Marcel Duchamp John Cage atonal music experimental music avant-garde Picasso Braque cubism postmodernism Chomsky Pinker human nature thema EDItEUR::G Reference, Information and Interdisciplinary subjects::GT Interdisciplinary studies::GTK Cognitive studies thema EDItEUR::A The Arts::AG The Arts: treatments and subjects::AGA History of art thema EDItEUR::6 Style qualifiers::6S Styles (S)::6SA Surrealism thema EDItEUR::Q Philosophy and Religion::QD Philosophy::QDT Topics in philosophy::QDTN Philosophy: aesthetics |
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