BIOCENTRISM AND MODERNISM PDF

Would you like to tell us about a lower price? If you are a seller for this product, would you like to suggest updates through seller support? Examining the complex intersections between art and scientific approaches to the natural world, Biocentrism and Modernism reveals another side to the development of Modernism. While many historians have framed this movement as being mechanistic and "against" nature, the essays in this collection illuminate the role that nature-centric ideologies played in late-nineteenth to mid-twentieth-century Modernism.

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Reviewed by: Biocentrism and Modernism ed. Terranova Biocentrism and Modernism edited by Oliver A. Ashgate Publishing, Surrey, U. ISBN: Oliver A. Made up of 11 essays from art, architectural and urban historians, the compendium does not so much recast or revise modernism as dig up and frame forthrightly the missed and seminal elements of proto-complex systems and the biologically inflected strain of the period in art and architecture.

In the shoals of the modern, biocentric modernism dates back to the coining of the word ecology in by the German scientist, propagator of Charles Darwin and consummate illustrator Ernst Haeckel [2]. Haeckel, a scintillating character, looms large in this volume. Romantic biologists include an array of figures from the last three centuries, such as founding figure of biology Goethe, biologist and embryologist Haeckel, biologist Carl Friedrich Kielmeyer, naturalist and geologist Charles Darwin, physiologist J.

These scientists shared a belief in the fundamental relationship between scientific and aesthetic observation. For them, there was a core connection between judgments based on biological function and judgments rooted in aesthetics. While interconnected in meaning and history, the two words are by no means synonymous. Holism is a unified perspective in which art and science are one. While there is no bifurcation at work in the anthology, certain essays stand out more strongly than others in their ability to truly carve out a niche for biocentrism as a prominent force in the opening of a new field of inquiry bridging art and science.

There are, thus, two kinds of essays in the compendium, wherein roughly half confront and discuss more forthrightly these philosophers and scientists and their ideas within modernism and the other half fall back into the more descriptive tradition of balkanized art history.

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Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves. Built on the Johns Hopkins University Campus. This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless. Institutional Login. LOG IN. Biocentrism and Modernism ed. In lieu of an abstract, here is a brief excerpt of the content: Reviewed by:. Biocentrism and Modernism edited by Oliver A.

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Biocentrism and Modernism

Would you like to tell us about a lower price? If you are a seller for this product, would you like to suggest updates through seller support? Examining the complex intersections between art and scientific approaches to the natural world, Biocentrism and Modernism reveals another side to the development of Modernism. While many historians have framed this movement as being mechanistic and "against" nature, the essays in this collection illuminate the role that nature-centric ideologies played in late-nineteenth to mid-twentieth-century Modernism. The essays in Biocentrism and Modernism contend that it is no accident that Modernism arose at the same time as the field of modern biology.

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Biocentrism and Modernism / Edited by Oliver A.I. Botar and Isabel Wu╠łnsche

Oliver A. Botar received his Ph. Contents: Introduction: biocentrism as a constituent element of modernism, Oliver A. Botar; Rereading bioromanticism, Monika Wucher; The naming of biomorphism, Jennifer Mundy; On the biology of the inorganic: crystallography and discourses of latent life in the art and architectural historiography of the early 20th century, Spyros Papapetros; Traces of organicism in gardening and urban planning theories in early 20th-century Germany, David Haney and Elke Sohn; Organic visions and biological models in Russian avant-garde art, Isabel Wunsche; Biocentrism and anarchy: Herbert Read's modernism, Allan Antliff; Organicism among the Cubists: the case of Raymond Duchamp-Villon, Mark Antliff; Klee's neo-romanticism: the wages of scientific curiosity, Sara Lynn Henry; Kandinsky and science: the introduction of biological images in the Paris period, Vivian Endicott Barnett; Pollock's dream of a biocentric art: the challenge of his and Peter Blake's ideal museum, Elizabeth L.

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Biocentrism and Modernism. Examining the complex intersections between art and scientific approaches to the natural world, Biocentrism and Modernism reveals another side to the development of Modernism. While many historians have framed this movement as being mechanistic and "against" nature, the essays in this collection illuminate the role that nature-centric ideologies played in late-nineteenth to mid-twentieth-century Modernism. The essays in Biocentrism and Modernism contend that it is no accident that Modernism arose at the same time as the field of modern biology. From nineteenth-century discoveries, to the emergence of the current environmentalist movement during the s, artists, architects, and urban planners have responded to currents in the scientific world. Sections of the volume treat both philosophic worldviews and their applications in theory, historiography, and urban design.

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