Styles of observation and embodiment
-
Francis Halsall
Abstract
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)
Abstract
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)
Chapters in this book
- Prelim pages i
- Table of contents v
- Moving imagination 1
- Bodily resonance 19
- The moving body 37
- Movement, gesture, and meaning 51
- Achieved spontaneity and spectator’s performative experience – The motor dimension of the actor-spectator relationship 69
- The digital body in contemporary American cinema 87
- Embodiment 101
- Is gesture knowledge? A philosophical approach to the epistemology of musical gestures 113
- Sound in film as an inner movement 133
- Body English 149
- The somatic in kinetic sculpture 167
- Edgar Degas 185
- Time lines 205
- Styles of observation and embodiment 221
- Cy Twombly 235
- Pre-motor and motor activities in early medieval handwriting 247
- The neurophenomenology of gesture in the art of Henri Michaux 263
- Moving without moving 281
- The “I cannot, but it can” of aesthetic perception 295
- Name index 311
- Subject index 313
Chapters in this book
- Prelim pages i
- Table of contents v
- Moving imagination 1
- Bodily resonance 19
- The moving body 37
- Movement, gesture, and meaning 51
- Achieved spontaneity and spectator’s performative experience – The motor dimension of the actor-spectator relationship 69
- The digital body in contemporary American cinema 87
- Embodiment 101
- Is gesture knowledge? A philosophical approach to the epistemology of musical gestures 113
- Sound in film as an inner movement 133
- Body English 149
- The somatic in kinetic sculpture 167
- Edgar Degas 185
- Time lines 205
- Styles of observation and embodiment 221
- Cy Twombly 235
- Pre-motor and motor activities in early medieval handwriting 247
- The neurophenomenology of gesture in the art of Henri Michaux 263
- Moving without moving 281
- The “I cannot, but it can” of aesthetic perception 295
- Name index 311
- Subject index 313
