LEADER 03673nam 2200817 450 001 9910787226703321 005 20230612051717.0 010 $a1-4426-5566-6 010 $a1-4426-2310-1 024 7 $a10.3138/9781442623101 035 $a(CKB)3710000000329250 035 $a(EBL)3296842 035 $a(SSID)ssj0001420393 035 $a(PQKBManifestationID)12611299 035 $a(PQKBTitleCode)TC0001420393 035 $a(PQKBWorkID)11403735 035 $a(PQKB)11173157 035 $a(MiAaPQ)EBC4669961 035 $a(CEL)418110 035 $a(OCoLC)903441049 035 $a(CaBNVSL)thg00915978 035 $a(MiAaPQ)EBC3296842 035 $a(DE-B1597)479188 035 $a(OCoLC)979836639 035 $a(DE-B1597)9781442623101 035 $a(Au-PeEL)EBL4669961 035 $a(CaPaEBR)ebr11256475 035 $a(OCoLC)958571157 035 $a(MdBmJHUP)musev2_106972 035 $a(EXLCZ)993710000000329250 100 $a20160913h20012001 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 00$aAntimodernism and artistic experience $epolicing the boundaries of modernity /$fedited by Lynda Jessup 210 1$aToronto, [Ontario] ;$aBuffalo, [New York] ;$aLondon, [England] :$cUniversity of Toronto Press,$d2001. 210 4$dİ2001 215 $a1 online resource (306 p.) 225 0 $aHeritage 311 $a0-8020-4821-8 311 $a0-8020-8354-4 320 $aIncludes bibliographical references. 327 $aForeword -- Acknowledgments -- Antimodernism and artistic experience: an introduction -- Introduction: around and about modernity: some comments on themes of primitivism and modernism -- Performing the native woman: primitivism and mimicry in early twentieth-century visual culture -- The colonial lens: Gauguin, primitivism, and photography in the fin de siecle -- Emily Carr and the traffic in native images -- Introduction: staging antimodernism in the age of high capitalist nationalism -- Modernists and folk on the lower St. Lawrence: the problem of folk art -- Handicrafts and the logic of 'commercial antimodernism': the Nova Scotia case -- Bushwhackers in the gallery: antimodernism and the Group of Seven -- Introduction: modernity, nostalgia, and the standardization of time -- Artisans and art nouveau in fin-de-siecle Belgium: primitivism and nostalgia -- Van Gogh in the south: antimodernism and exoticism in the Arlesian paintings -- Plays without people: shadows and puppets of modernity in fin-de-siecle Paris -- Primitivism in Sweden: dormant desire or fictional identity? 330 $aScholars in art history, anthropology, history, and feminist media studies explore Western antimodernism of the turn of the 20th century as an artistic response to a perceived loss of 'authentic' experience. 606 $aPrimitivism in art 606 $aModernism (Art) 606 $aArt, Modern$y19th century 606 $aArt, Modern$y20th century 606 $aPrimitivism in art$zCanada 606 $aModernism (Art)$zCanada 606 $aArt, Canadian$y20th century 607 $aCanada$2fast 608 $aElectronic books. 615 0$aPrimitivism in art. 615 0$aModernism (Art) 615 0$aArt, Modern 615 0$aArt, Modern 615 0$aPrimitivism in art 615 0$aModernism (Art) 615 0$aArt, Canadian 676 $a709/.03/4 702 $aJessup$b Lynda$f1956- 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910787226703321 996 $aAntimodernism and artistic experience$93678580 997 $aUNINA LEADER 05310nam 2200637 450 001 9910811618603321 005 20230803202404.0 010 $a90-272-7057-0 035 $a(CKB)3710000000107826 035 $a(EBL)1684234 035 $a(SSID)ssj0001195224 035 $a(PQKBManifestationID)12475123 035 $a(PQKBTitleCode)TC0001195224 035 $a(PQKBWorkID)11160635 035 $a(PQKB)11037752 035 $a(MiAaPQ)EBC1684234 035 $a(Au-PeEL)EBL1684234 035 $a(CaPaEBR)ebr10866701 035 $a(CaONFJC)MIL604248 035 $a(OCoLC)879424066 035 $a(EXLCZ)993710000000107826 100 $a20140516h20142014 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aCreative confluence /$fJohan F. Hoorn 210 1$aAmsterdam, Netherlands ;$aPhiladelphia, Pennsylvania :$cJohn Benjamins Publishing Company,$d2014. 210 4$dİ2014 215 $a1 online resource (336 p.) 225 1 $aLinguistic Approaches to Literature ;$vVolume 16 300 $aDescription based upon print version of record. 311 $a90-272-3405-1 320 $aIncludes bibliographical references. 327 $aCreative Confluence; Editorial page; Title page; LCC data; Dedication page; Make - Take; Table of contents; Introduction; 1.Puzzled; 2.Urgency of creativity; 3.Creativity in theory; 3.1Creativity in the humanities; 4.Creativity in application; 5.Heading for common ground; 6.The Confluence Theory of Creativity; 7.About this book; Acknowledgements; chapter 1; Confluence; 1.Cooling down; 2.Thermodynamics; 3.Assembling; 4.Blind variation, selective retention; 5.Brain architecture; 6.Selective attention: Survival or opportunities; 7.Two types of problem solving; 8.Cultural history 327 $a9.Epistemics and perceptual flaws10.The need for transformation; 11.The creative process; 12.Conditions of creativity; 13.Probabilism, determinism, and the rule of rules; 14.Creative output: Sigmoid accumulation of innovations; 15.Creative Sigmoid at three scales; 16.Fractal recursion of the sigmoid; Acknowledgement; chapter 2; Two world views; 1.A world view follows from what we believe; 2.Survival versus opportunity thinking; 2.1Old brain, young brain; 3.Ontological classification, epistemic appraisal; 4.Determinism, probabilism; 5.Two world views leading to three theories 327 $a5.1The ordered universe: A vision of continuity and determinism5.1.1Analytic decomposition; 5.1.2Hierarchical; 5.1.3No free will, no heroes, no revolutions; 5.1.4Creative drivers; 5.1.5Slow evolution; 5.1.6Invention is social; 5.1.7Copying from others; 5.1.8Harmony and perfection; 5.2A subversive universe: Discontinuity and the outlier; 5.2.1Against dehumanization; 5.2.2Deviation and disharmony; 5.2.3Genius: the freedom of formidable spirits; 5.2.4Iconic heroes; 5.2.5Hop, step, jump; 5.3Chaos: Coincidence and non-random variance; 5.3.1Pure coincidence; 5.3.2Mechanized coincidence 327 $a5.3.3Serendipity: The human hunch5.3.4Mean and variance: Playing with partial determinism; 5.3.5Fractal recursion; 6.Classic, Romantic, Chaotic; 7.Reconciliation: Serendipity in a partly deterministic system; 8.Creativity on three scales; 8.1The breakdown of determinism or why Rutherford was wrong; 8.2The law of 'anything can happen' or why Rutherford is sometimes right; chapter 3; Problem solving; 1.The two ways; 2.Problems are not problematic; 3.Commonalities; 4.Convergent and divergent thinking; 4.1Conventional computing systems are "convergent"; 4.2Humans can do both 327 $a5.Rational problem solving5.1Breaking down the problem; 5.2Forward and backward reasoning; 5.3Difference reduction; 5.4Means-end analysis; 5.5Problem complexity; 6.Intelligence and creativity; 7.Switching perspectives: narrow vs. wide; 8.The balance between convergence and divergence; 8.1Intelligence: first convergence, then divergence; 8.2Creativity: first divergence, then convergence; 9.Analogy: An associative reasoning strategy; 9.1Solving an analogy; 9.2Limitations of analogy use; 10.Experts and novices; 10.1Experts converge; 10.2Novices diverge; 10.2.1Alternate uses 327 $a10.3Being knowledgeable 330 $aThe ACASIA process accounted for the way combinatory creativity unfolds and the ensuing Creative Sigmoid explained the accumulation of creations, both being nourished or impeded by a host of factors, most importantly, having access to the largest possible diversity in the information universe. How much of that information universe is available to the creator or audience is a matter of openness of perception and the level of tolerance to deviation. The current chapter discusses the relation between perception and creation: After all, all creators start out as creators of fiction because, previo 410 0$aLinguistic approaches to literature ;$vVolume 16. 606 $aCreativity (Linguistics) 606 $aProblem solving 615 0$aCreativity (Linguistics) 615 0$aProblem solving. 676 $a153.3/5 700 $aHoorn$b Johan$01636790 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910811618603321 996 $aCreative confluence$94031824 997 $aUNINA