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Full Description
This volume brings together contributions by philosophers, art historians and artists who discuss, interpret and analyse the moving and gesturing body in the arts. Broadly inspired by phenomenology, and taking into account insights from cognitive science, the contribution of the motor body in watching a film, attending a dance or theatre performance, looking at paintings or drawings, and listening to music is explored from a diversity of perspectives. This volume is intended for both the specialist and non-specialist in the fields of art, philosophy and cognitive science, and testifies to the burgeoning interest for the moving and gesturing body, not only in the creation but also in the perception of works of art. Imagination is tied to our capacity to silently resonate with the way a work of art has been or is created.
Contents
1. Moving imagination: Headlines and themes (by De Preester, Helena); 2. Bodily resonance (by Sheets-Johnstone, Maxine); 3. The moving body: Gestural recreation of the world in drama (by Escribano, Xavier); 4. Movement, gesture, and meaning: A sensorimotor model for audience engagement with dance (by Seeley, William P.); 5. Achieved spontaneity and spectator's performative experience - The motor dimension of the actor-spectator relationship (by Sofia, Gabriele); 6. The digital body in contemporary American cinema (by Luceri, Marco); 7. Embodiment: Technologies and musics (by Ihde, Don); 8. Is gesture knowledge? A philosophical approach to the epistemology of musical gestures (by Funk, Michael); 9. Sound in film as an inner movement: Towards embodied listening strategies (by Huvenne, Martine); 10. Body English: Kinaesthetic empathy, dance and the art of Len Lye (by Parmenter, Michael); 11. The somatic in kinetic sculpture: From Len Lye to an introverted kinetic sculpture (via Donna Haraway's cyborg) (by Woodward, Laura); 12. Edgar Degas: Modelling movement. Being in the body (by Wiseman, Boris); 13. Time lines: The temporal dimension of marking (by Rosand, David); 14. Styles of observation and embodiment: Using drawing to understand Robert Morris' Untitled 3 L-Beams (1965) (by Halsall, Francis); 15. Cy Twombly: Gesture, space, and writing (by Kaushik, Rajiv); 16. Pre-motor and motor activities in early medieval handwriting (by van Zwieten, Jan W.M.); 17. The neurophenomenology of gesture in the art of Henri Michaux (by Hetrick, Jay); 18. Moving without moving: A first-person experiential phenomenological approach (by Depraz, Natalie); 19. The "I cannot, but it can" of aesthetic perception (by Harris, Erica); 20. Name index; 21. Subject index
