The Fourth Dimension and Futurism: A Politicized Space

Antliff, Mark

doi:10.2307/3051419

Cited by 6 publications

(2 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…In contrast, there are documented instances where disfluency is used to express artistic content, or at least to accentuate the cognitive effects inherent in the appreciation of the content of an artwork. These cases include, for example, the expression of disorder (e.g., Turner, see Clark 1961, p. 143), struggle (e.g., Delacroix and Rubens, see Mras 1966), or speed and violence as in Boccioni's Futurist paintings and sculptures (Antliff 2000; Boccioni 1914/1977; Petrie 1974). In the Manifesto of Futurism , Marinetti defines the disfluent aims of Futurism by means of an attack of Classicist ideals: “Up to now literature has exalted a pensive immobility, ecstasy, and sleep.…”

Section: Artistic Understanding and Art-historical Manipulations Of Fmentioning

confidence: 99%

The artful mind meets art history: Toward a psycho-historical framework for the science of art appreciation

2013

View full text Add to dashboard Cite

Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the psychological approach, we introduce a psycho-historical framework for the science of art appreciation. This framework demonstrates that a science of art appreciation must investigate how appreciators process causal and historical information to classify and explain their psychological responses to art. Expanding on research about the cognition of artifacts, we identify three modes of appreciation: basic exposure to an artwork, the artistic design stance, and artistic understanding. The artistic design stance, a requisite for artistic understanding, is an attitude whereby appreciators develop their sensitivity to art-historical contexts by means of inquiries into the making, authorship, and functions of artworks. We defend and illustrate the psycho-historical framework with an analysis of existing studies on art appreciation in empirical aesthetics. Finally, we argue that the fluency theory of aesthetic pleasure can be amended to meet the requirements of the framework. We conclude that scientists can tackle fundamental questions about the nature and appreciation of art within the psycho-historical framework.

show abstract

Section: Artistic Understanding and Art-historical Manipulations Of Fmentioning

confidence: 99%

The artful mind meets art history: Toward a psycho-historical framework for the science of art appreciation

2013

View full text Add to dashboard Cite

show abstract

“…In contrast, there are documented instances where disfluency is used to express artistic content, or at least to accentuate the cognitive effects inherent in the appreciation of the content of an artwork. These cases include, for example, the expression of disorder (e.g., Turner, see Clark 1961, p. 143), struggle (e.g., Delacroix and Rubens, see Mras 1966), or speed and violence as in Boccioni's Futurist paintings and sculptures (Antliff 2000;Boccioni 1914Boccioni / 1977Petrie 1974). In the Manifesto of Futurism, Marinetti defines the disfluent aims of Futurism by means of an attack of Classicist ideals: "Up to now literature has exalted a pensive immobility, ecstasy, and sleep.…”

Section: Disfluency As Expressive Meansmentioning

confidence: 99%

A psycho-historical research program for the integrative science of art

Bullot

Reber

2013

Behav Brain Sci

View full text Add to dashboard Cite

Critics of the target article objected to our account of art appreciators' sensitivity to art-historical contexts and functions, the relations among the modes of artistic appreciation, and the weaknesses of aesthetic science. To rebut these objections and justify our program, we argue that the current neglect of sensitivity to art-historical contexts persists as a result of a pervasive aesthetic–artistic confound; we further specify our claim that basic exposure and the design stance are necessary conditions of artistic understanding; and we explain why many experimental studies do not belong to a psycho-historical science of art.

show abstract

Re‐Envisioning Yeats's A Vision

Israel¹

2014

A Companion to British Literature

View full text Add to dashboard Cite

The Fourth Dimension and Futurism: A Politicized Space

Cited by 6 publications

References 0 publications

The artful mind meets art history: Toward a psycho-historical framework for the science of art appreciation

The artful mind meets art history: Toward a psycho-historical framework for the science of art appreciation

A psycho-historical research program for the integrative science of art

Re‐Envisioning Yeats's A Vision

Contact Info

Product

Resources

About