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Books > Science & Mathematics > Biology, life sciences > Life sciences: general issues > Neurosciences
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The Mental Life of Modernism - Why Poetry, Painting, and Music Changed at the Turn of the Twentieth Century (Hardcover)
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The Mental Life of Modernism - Why Poetry, Painting, and Music Changed at the Turn of the Twentieth Century (Hardcover)
Series: The MIT Press
Expected to ship within 9 - 15 working days
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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.
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