David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
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Studies in History and Philosophy of Science Part A 39 (3):393-417 (2008)
When discussing the changing sense of reality around 1900 in the cultural arts the lexicon of early modernism reigns supreme. This essay contends that a critical condition for the possibility of many of the turn of the century modernist movements in the arts can be found in exchange of instruments, concepts, and media of representation between the sciences and the arts. One route of interaction came through physiological aesthetics, the attempt to ‘elucidate physiologically the nature of our Aesthetic feelings’ and explain how works of art achieve their effects. Physiological aesthetics provided the terms for new formalist languages of art and criticism, and in some instances suggested optimistic, even utopian, possibilities for art to remake human individuals and societies.Keywords: Physiology; Psychology; Evolution; Aesthetics; Modernism; Art history
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References found in this work BETA
William James (1884). What is an Emotion? Mind 9 (34):188-205.
Vittorio Gallese (2001). The 'Shared Manifold' Hypothesis: From Mirror Neurons to Empathy. Journal of Consciousness Studies 8 (5-7):33-50.
Charles S. Peirce (1931). Collected Papers of Charles Sanders Peirce. Cambridge, Harvard University Press.
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Citations of this work BETA
Robert Michael Brain (2012). Self-Projection: Hugo Münsterberg on Empathy and Oscillation in Cinema Spectatorship. Science in Context 25 (3):329-353.
Gadi Algazi (2008). Norbert Elias's Motion Pictures: History, Cinema and Gestures in the Process of Civilization. Studies in History and Philosophy of Science Part A 39 (3):444-458.
John Carson (2012). Has Psychology “Found its True Path”? Methods, Objectivity, and Cries of “Crisis” in Early Twentieth-Century French Psychology. Studies in History and Philosophy of Science Part C 43 (2):445-454.
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