Moving imagination : explorations of gesture and inner movement / edited by Helena De Preester.

Format:

Book

Contributor:

Preester, Helena de.

Series:

Advances in consciousness researchx ; v. 89.

Advances in consciousness research, 1381-589X ; v. 89

Language:

English

Subjects (All):

Mind and body.

Human beings--Attitude and movement.

Human beings.

Arts--Psychological aspects.

Arts.

Arts audiences--Psychology.

Arts audiences.

Physical Description:

1 online resource (326 p.)

Edition:

1st ed.

Place of Publication:

Amsterdam : John Benjamins Pub. Co., 2013.

Language Note:

English

Summary:

To know anything in space (for instance, a line), I must draw it, and thus synthetically bring into being a determinate combination of the given manifold, so that the unity of this act is at the same time the unity of consciousness (as in the concept of a line); and it is through this unity of consciousness that an object (a determinate space) is first known.Immanuel Kant, Critique of Pure Reason, B 138 (2007)

Contents:

Moving Imagination

Editiorial page

Title page

LCC data

Table of Contents

Moving imagination

Headlines and themes

Helena De Preester

Bodily resonance

Maxine Sheets-Johnstone

The moving body

Gestural recreation of the world in drama

Xavier Escribano

Movement, gesture, and meaning

A sensorimotor model for audience engagement with dance

William P. Seeley

Achieved spontaneity and spectator's performative experience - The motor dimension of the actor-spectator relationship

Gabriele Sofia

The digital body in contemporary American cinema

Marco Luceri

Embodiment

Technologies and musics

Don Ihde

Is gesture knowledge? A philosophical approach to the epistemology of musical gestures

Michael Funk &amp

Mark Coeckelbergh

Sound in film as an inner movement

Towards embodied listening strategies

Martine Huvenne

Body English

kinaesthetic empathy, dance and the art of Len Lye

Michael Parmenter

The Somatic in Kinetic Sculpture

from Len Lye to an Introverted Kinetic Sculpture (via Donna Haraway's cyborg)

Laura Woodward

Edgar Degas

Modelling movement. Being in the body

Boris Wiseman &amp

Jonathan Cole

Time lines

The temporal dimension of marking

David Rosand

Styles of observation and embodiment

Using drawing to understand Robert Morris' Untitled 3 L-Beams (1965)

Francis Halsall

Cy Twombly

Gesture, space, and writing

Rajiv Kaushik

Pre-motor and motor activities in early medieval handwriting

Jan W. M. van Zwieten &amp

Koos Jaap van Zwieten

The neurophenomenology of gesture in the art of Henri Michaux

Jay Hetrick

Moving without moving

A first-person experiential phenomenological approach

Natalie Depraz

The "I cannot, but it can" of aesthetic perception

Erica Harris

Moving imagination.

Bodily resonance

1. Introduction

2. Thinking in movement

3. The imaginative consciousness of movement

4. The question of mirror neurons

5. Experiential evidence

References

2. Lecoq and the poetry of motion in space

3. Mimism and the dynamics of meaning

4. Conclusion

1. What is the neuroscience of art?

2. What is the neuroscience of dance?

3. Art, aesthetics, and the neuroscience of dance

4. Art, meaning, and perception

5. A sensorimotor model for audience engagement with dance

6. The neuroscience of dance redux

2. Entailed hypotheses and methodologies

3. Determination of the matter of the research

4. The actor's creative processes and their motor dimension

5. Motor dynamics of believable action

6. Surprising and suspending. The actor's advantage over the spectator

7. Foreseeing and anticipating: The spectator's advantage over the actor

8. Fragmentation and reconstruction: The artificial body schema

9. The spectator's performative experience

10. Conclusions

1. A transformation of American cinema

2. Second lives

3. Body, space, movement, image, acting: From theatre to cinema

4. To be or not to be: The actor, the spectator and the representation of movement

5. Conclusion

2. Where we are

3. Where does music come from?

4. A phenomenology of instrumentation

5. Instrumental trajectories

6. Digital postmodernism

7. Phenomenological reprise

8. Musics from beyond hearing

References.

Is gesture knowledge? A philosophical approach to the epistemology of musical gestures

2. Musical gestures as subject of musical scholarship and interdisciplinary research

3. Classical epistemology and propositional knowledge

4. Implicit knowledge

5. Gesture as critique on cartesian dualism

6. Musical gestures and technologies

7. Musical gestures as cultural and social phenomenon

8. Conclusion

2. Existing views on sound in film

3. Sound in film as an audible dynamic energetic movement

4. Different listening strategies provoking different kinds of imagination

5. Different kinds of images evoked by listening to sound

6. Listening to a recorded sound as such

7. Conclusion

1. Len Lye and the dance

2. Kinaesthetic empathy in dance

3. Len Lye's conception of aesthetic reception

4. The double movement of introjection and projection

2. The art that moves

3. The introverted kinetic sculpture

4. From Len Lye to an introverted kinetic sculpture

5. In conclusion

1. Freezing movement

2. Moments of being

3. Degas's development

4. Lessons from loss

proprioception and embodiment

5. Microscopies

2. Why I can't draw

3. Untitled, 3 L-Beams

4. Drawing is a process

5. Drawing and medium specificity

6. Showing drawing as an embodied practice: Morris' Blind Time Drawings

1. Rendering the process of mark-making

2. The body's intentions opened up into mark-making

3. Language/writing - gesture

Pre-motor and motor activities in early medieval handwriting

1. Introduction - The beatrice saga

2. Movements of inner organs

3. Handwriting and neuromotor characteristics

4. Traces of emotion in a handwritten text

5. Historical backgrounds of the text

6. Preliminary screening of character size and regularity

7. Further analyses, results and conclusions

8. Discussion

9. Summary

Acknowledgements

1. From gesture to the pre-gestural

2. Michaux's mescaline work as a model for neurophenomenology

2. Two contrasted third person philosophical phenomenological accounts of the "inner move"

2.1 Merleau-Ponty: From kinaesthesia to motricity

2.2 Michel Henry and self-affection

3. Two first person experiential phenomenological accounts of "inner move"

3.1 From a third person to a first person approach

3.2 Meditation: Moving while remaining still

3.3 Manual fasciatherapy: Experiencing one's inner moves thanks to the other's hand-move

4. Crossing third person and first person phenomenological approaches: Emergent subcategories of "inner move"

1. The personal body and its spatiality: I can

2. Introducing the I cannot

3. The I cannot and non-representational art

4. A non-dualistic solution to the problem of the I cannot

Name index

Subject index.

Notes:

Description based upon print version of record.

Includes bibliographical references and indexes.

ISBN:

9789027272003

902727200X

OCLC:

845039768