Description

The Pulse of Modernism

Physiological Aesthetics in Fin-de-Siècle Europe

Robert Michael Brain

  • Published: 2015. Paperback October 2016
  • Subject Listing: Art History; Literary Studies; Science and Technology Studies
  • Bibliographic information: 384 pp., 61 bandw illus., 7 x 9 in.
  • Territorial rights: World Rights
  • Series: In Vivo
  • Contents

Robert Brain traces the origins of artistic modernism to specific technologies of perception developed in late-nineteenth-century laboratories. Brain argues that the thriving fin-de-siècle field of "physiological aesthetics," which sought physiological explanations for the capacity to appreciate beauty and art, changed the way poets, artists, and musicians worked and brought a dramatic transformation to the idea of art itself.
Robert Michael Brain is associate professor of history at the University of British Columbia.

"This terrific book brings forward new research on techniques of science, art, politics and philosophy, finding hidden connections between these only seemingly disparate worlds and providing a fresh and inspiring reconceptualization of European modernism."
-John Tresch, University of Pennsylvania
Contents
Acknowledgments

Introduction
Part 1: Experimentalizing Life
1. Representation on the Line
2. The Vibratory Organism
3. Visible Speech

Part 2: Experimentalizing Art
4. Algorithms of Pleasure
5. Liberating Verse
6. Sensory Fusion
7. Art for Life's Sake
Conclusion

Notes
Bibliography
Index
Reviews

"[A] highly creative endeavour in the cultural history of science and aesthetics which provides a compelling account of the inspiration which various early practitioners of the modernist movement drew from the physiological laboratories of the nineteenth century. For historians working at the intersection between science and art it is essential reading, whilst historians of science, technology and medicine more medicine more generally can draw inspiration from this approach just as artists in the late nineteenth century looked outside the conventional boundaries of their practice to inform new directions of experimentation in the studio."
-James F. Stark, The British Journal for the History of Science