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Titel och upphov Rhythm in art, psychology and new materialism
Utgivning, distribution etc. Cambridge University Press, Cambridge ; New York : 2021
©2021
Utgivningsår
DDC klassifikationskod (Dewey Decimal Classification)
SAB klassifikationskod
Fysisk beskrivning 1 online resource (xi, 277 pages, 12 unnumbered pages of plates) illustrations (some color)
Anmärkning: Bibliografi etc. Includes bibliographical references and index.
Anmärkning: Innehållsbeskrivning, sammanfattning "In Rhythm, Music and the Brain, Michael Thaut discusses how it is common for spatial images to arise in the mind while listening to music: sound durations can express extensions and distances; rhythmic and melodic contours can express images of lines and geometric figures; vertical stacks of sound can evoke pictures of multidimensional forms and layered objects. One of the most impressive and illustrative ways to study such translations can be found in the writings and works of Paul Klee (Thaut 2005, 16). We discern rhythm primarily from movement, by recognising repeat structures (periodic structures) and through variation or differentiation. The paradox, of course, is that paintings do not move or make a sound. This is similar to the way in which music is 19 perceived as movement even though nothing in music actually moves. It may be the case that we project motor routines onto sound experienced as pulses or constants. Intervals and changes in volume and tempo may be felt as rhythmic shifts in time and place. Danijela Kulezic-Wilson discusses the French composer Michel Chion's theory of 'transsensorial perception' which is "neither specifically auditory nor visual as it becomes decoded in the brain as rhythm after passing the sensory path of the eye or ear" (Kulezic-Wilson 2015, 40). The theory holds that although the senses pick up rhythm, there is a fundamental interpretative mechanism in the brain that is able to intuit rhythm beneath the senses. What can trigger the feeling of rhythmic processes in the brain and body is an awareness of simultaneity and sequentiality, an understanding of how events or features occur or seem to affect the senses. The impression that something is moving when it is in fact static is not new.4 There are numerous ways in which it is possible to infer rhythm in a static medium such as painting or drawing. A well-known perceptual principle, the 'law of common fate', holds that two or more lines with similar features placed next to each other will suggest that they are moving together, when compared to other details: the two backslashes in 'http://' appear to switch to the right while the colon remains stationary"-- Provided by publisher.
Term
Annat medium Print version: Minissale, Gregory. Rhythm in art, psychology and new materialism Cambridge ; New York : Cambridge University Press, 2021. ISBN 9781108831413
Elektronisk adress och åtkomst (URI) Ko https://ebookcentral.proquest.com/lib/konstfack/detail.action?docID=6499776 Read online / download
ISBN 9781108917216 1108917216 9781108912983 1108912982
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*24510$aRhythm in art, psychology and new materialism /$cGregory Minissale, the University of Auckland.
*264 1$aCambridge ;$aNew York :$bCambridge University Press,$c2021
*264 4$c©2021
*300 $a1 online resource (xi, 277 pages, 12 unnumbered pages of plates)$billustrations (some color)
*336 $atext$btxt$2rdacontent
*337 $acomputer$bc$2rdamedia
*338 $aonline resource$bcr$2rdacarrier
*504 $aIncludes bibliographical references and index.
*520 $a"In Rhythm, Music and the Brain, Michael Thaut discusses how it is common for spatial images to arise in the mind while listening to music: sound durations can express extensions and distances; rhythmic and melodic contours can express images of lines and geometric figures; vertical stacks of sound can evoke pictures of multidimensional forms and layered objects. One of the most impressive and illustrative ways to study such translations can be found in the writings and works of Paul Klee (Thaut 2005, 16). We discern rhythm primarily from movement, by recognising repeat structures (periodic structures) and through variation or differentiation. The paradox, of course, is that paintings do not move or make a sound. This is similar to the way in which music is 19 perceived as movement even though nothing in music actually moves. It may be the case that we project motor routines onto sound experienced as pulses or constants. Intervals and changes in volume and tempo may be felt as rhythmic shifts in time and place. Danijela Kulezic-Wilson discusses the French composer Michel Chion's theory of 'transsensorial perception' which is "neither specifically auditory nor visual as it becomes decoded in the brain as rhythm after passing the sensory path of the eye or ear" (Kulezic-Wilson 2015, 40). The theory holds that although the senses pick up rhythm, there is a fundamental interpretative mechanism in the brain that is able to intuit rhythm beneath the senses. What can trigger the feeling of rhythmic processes in the brain and body is an awareness of simultaneity and sequentiality, an understanding of how events or features occur or seem to affect the senses. The impression that something is moving when it is in fact static is not new.4 There are numerous ways in which it is possible to infer rhythm in a static medium such as painting or drawing. A well-known perceptual principle, the 'law of common fate', holds that two or more lines with similar features placed next to each other will suggest that they are moving together, when compared to other details: the two backslashes in 'http://' appear to switch to the right while the colon remains stationary"--$cProvided by publisher.
*588 $aDescription based on online resource; title from digital title page (viewed on March 08, 2021).
*650 0$aArt$xPsychology.
*650 0$aRhythm$xPsychological aspects.
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*650 7$aRhythm$xPsychological aspects.$2fast
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*77608$iPrint version:$aMinissale, Gregory.$tRhythm in art, psychology and new materialism$dCambridge ; New York : Cambridge University Press, 2021.$z9781108831413
*852 $5Ko$bKo$hTillgänglig inom Konstfack
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This book examines the psychology involved in handling, and responding to, materials in artistic practice, such as oils, charcoal, brushes, canvas, earth, and sand. Artists often work with intuitive, tactile sensations and rhythms that connect them to these materials. Rhythm connects the brain and body to the world, and the world of abstract art. The book features new readings of artworks by Matisse, Pollock, Dubuffet, Tápies, Benglis, Len Lye, Star Gossage, Shannon Novak, Simon Ingram, Lee Mingwei, L. N. Tallur and many others. Such art challenges centuries of philosophical and aesthetic order that has elevated the substance of mind over the substance of matter. This is a multidisciplinary study of different metastable patterns and rhythms: in art, the body, and the brain. This focus on the propagation of rhythm across domains represents a fresh art historical approach and provides important opportunities for art and science to cooperate.