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Moving Imagination
Explorations of gesture and inner movement
Editor
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.
[Advances in Consciousness Research, 89] 2013. vi, 320 pp.
Publishing status: Available
Published online on 13 May 2013
Published online on 13 May 2013
© John Benjamins Publishing Company
Table of Contents
- Moving imagination: Headlines and themesHelena De Preester | pp. 1–18
- Bodily resonanceMaxine Sheets-Johnstone | pp. 19–36
- The moving body: Gestural recreation of the world in dramaXavier Escribano | pp. 37–50
- Movement, gesture, and meaning: A sensorimotor model for audience engagement with danceWilliam P. Seeley | pp. 51–68
- Achieved spontaneity and spectator’s performative experience – The motor dimension of the actor-spectator relationshipGabriele Sofia | pp. 69–86
- The digital body in contemporary American cinemaMarco Luceri | pp. 87–100
- Embodiment: Technologies and musicsDon Ihde | pp. 101–112
- Is gesture knowledge? A philosophical approach to the epistemology of musical gesturesMichael Funk and Mark Coeckelbergh | pp. 113–132
- Sound in film as an inner movement: Towards embodied listening strategiesMartine Huvenne | pp. 133–148
- Body English: Kinaesthetic empathy, dance and the art of Len LyeMichael Parmenter | pp. 149–166
- The somatic in kinetic sculpture: From Len Lye to an introverted kinetic sculpture (via Donna Haraway’s cyborg)Laura Woodward | pp. 167–184
- Edgar Degas: Modelling movement. Being in the bodyBoris Wiseman and Jonathan Cole | pp. 185–204
- Time lines: The temporal dimension of markingDavid Rosand | pp. 205–220
- Styles of observation and embodiment: Using drawing to understand Robert Morris’ Untitled 3 L-Beams (1965)Francis Halsall | pp. 221–234
- Cy Twombly: Gesture, space, and writingRajiv Kaushik | pp. 235–246
- Pre-motor and motor activities in early medieval handwritingJan W.M. van Zwieten and Koos Jaap van Zwieten | pp. 247–262
- The neurophenomenology of gesture in the art of Henri MichauxJay Hetrick | pp. 263–280
- Moving without moving: A first-person experiential phenomenological approachNatalie Depraz | pp. 281–294
- The “I cannot, but it can” of aesthetic perceptionErica Harris | pp. 295–310
- Name index | pp. 311–312
- Subject index | pp. 313–320
Cited by (4)
Cited by four other publications
Bray, Dennis P.
Charitonidou, Marianna
Charitonidou, Marianna
Depraz, Natalie
2019. Shock, twofold dynamics, cascade. In Surprise at the Intersection of Phenomenology and Linguistics [Consciousness & Emotion Book Series, 11], ► pp. 23 ff.
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