The pulse of modernism: Experimental physiology and aesthetic avant-gardes circa 1900

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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DOI 10.1016/j.shpsa.2008.06.011
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References found in this work BETA
Collected Papers of Charles Sanders Peirce.Charles S. Peirce - 1931 - Cambridge: Harvard University Press.
The 'Shared Manifold' Hypothesis: From Mirror Neurons to Empathy.Vittorio Gallese - 2001 - Journal of Consciousness Studies 8 (5-7):33-50.
What is an Emotion?William James - 1884 - Mind 9 (34):188-205.
Motion, Emotion and Empathy in Esthetic Experience.David Freedberg & Vittorio Gallese - 2007 - Trends in Cognitive Sciences 11 (5):197-203.

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From Facial Expressions to Bodily Gestures.Beatriz Pichel - 2016 - History of the Human Sciences 29 (1):27-48.
Norbert Elias's Motion Pictures: History, Cinema and Gestures in the Process of Civilization.Gadi Algazi - 2008 - Studies in History and Philosophy of Science Part A 39 (3):444-458.
Has Psychology “Found its True Path”? Methods, Objectivity, and Cries of “Crisis” in Early Twentieth-Century French Psychology.John Carson - 2012 - Studies in History and Philosophy of Science Part C: Studies in History and Philosophy of Biological and Biomedical Sciences 43 (2):445-454.

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