LEADER 01339oam 2200445zu 450 001 9910145375703321 005 20241212215642.0 010 $a9781509077311 010 $a1509077316 010 $a9781424423408 010 $a1424423406 035 $a(CKB)1000000000710730 035 $a(SSID)ssj0000453617 035 $a(PQKBManifestationID)12140401 035 $a(PQKBTitleCode)TC0000453617 035 $a(PQKBWorkID)10481835 035 $a(PQKB)11446323 035 $a(NjHacI)991000000000710730 035 $a(EXLCZ)991000000000710730 100 $a20160829d2008 uy 101 0 $aeng 135 $aur||||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$a2008 IEEE Computer Society Conference on Computer Vision and Pattern Recognition Workshops 210 31$a[Place of publication not identified]$cI E E E$d2008 215 $a1 online resource 300 $aBibliographic Level Mode of Issuance: Monograph 311 08$a9781424423392 311 08$a1424423392 606 $aComputer vision$vCongresses 615 0$aComputer vision 676 $a006.37 702 $aIEEE Staff 801 0$bPQKB 906 $aPROCEEDING 912 $a9910145375703321 996 $a2008 IEEE Computer Society Conference on Computer Vision and Pattern Recognition Workshops$92346861 997 $aUNINA LEADER 03419nam 2200589K 450 001 9910901883703321 005 20250118110036.0 010 $a9780262356954 010 $a0262356953 010 $a9780262356947 010 $a0262356945 035 $a(CKB)4100000010348287 035 $a(OCoLC)1130310515 035 $a(OCoLC-P)1130310515 035 $a(MaCbMITP)11966 035 $a(MiAaPQ)EBC6118541 035 $a(PPN)243779496 035 $a(ODN)ODN0005579081 035 $a(FR-PaCSA)88881515 035 $a(FRCYB88881515)88881515 035 $a(EXLCZ)994100000010348287 100 $a20191211d2020 uy 0 101 0 $aeng 135 $aurcnu|||unuuu 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe mental life of modernism $ewhy poetry, painting, and music changed at the turn of the Twentieth Century /$fGeoffrey Engelstein 210 $d2020 210 1$aCambridge :$cThe MIT Press,$d[2020] 215 $a1 online resource (240 pages) 311 08$a0-262-04349-1 330 $aAn 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. 606 $aArts$xPsychology 606 $aCommunication in art 606 $aModernism (Art) 606 $aModernism (Literature) 606 $aModernism (Music) 615 0$aArts$xPsychology. 615 0$aCommunication in art. 615 0$aModernism (Art) 615 0$aModernism (Literature) 615 0$aModernism (Music) 676 $a700.1/9 686 $aART015100$aPHI001000$aSCI090000$2bisacsh 700 $aKeyser$b Samuel Jay$f1935-$0201188 801 0$bOCoLC-P 801 1$bOCoLC-P 906 $aBOOK 912 $a9910901883703321 996 $aThe mental life of modernism$94273195 997 $aUNINA