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

• Record Nr.: UNINA9910958725203321
• Pubbl/distr/stampa: Amsterdam, : John Benjamins Pub. Co., 2013
• ISBN: 9789027272003; 902727200X
• Edizione: [1st ed.]
• Descrizione fisica: 1 online resource (326 p.)
• Collana: Advances in consciousness research, , 1381-589X ; ; v. 89
• Altri autori (Persone): PreesterHelena de
• Disciplina: 700.1/9
• Soggetti: Mind and body; Human beings - Attitude and movement; Arts - Psychological aspects; Arts audiences - Psychology
• Lingua di pubblicazione: Inglese
• Formato: Materiale a stampa
• Livello bibliografico: Monografia
• Note generali: Description based upon print version of record.
• Nota di bibliografia: Includes bibliographical references and indexes.
• Nota di contenuto: 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 -- The moving body -- 1. Introduction -- 2. Lecoq and the poetry of motion in space -- 3. Mimism and the dynamics of meaning -- 4. Conclusion -- References -- Movement, gesture, and meaning -- 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 -- References -- Achieved spontaneity and spectator's performative experience - The motor dimension of the actor-spectator relationship -- 1. Introduction -- 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 -- References -- The digital body in contemporary American cinema -- 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 -- References -- Embodiment -- 1. Introduction -- 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 -- 1. Introduction -- 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 -- References -- Sound in film as an inner movement -- 1. Introduction -- 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 -- References -- Body English -- 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 -- References -- The Somatic in Kinetic Sculpture -- 1. Introduction -- 2. The art that moves -- 3. The introverted kinetic sculpture -- 4. From Len Lye to an introverted kinetic sculpture -- 5. In conclusion -- References -- Edgar Degas -- 1. Freezing movement -- 2. Moments of being -- 3. Degas's ; development -- 4. Lessons from loss -- proprioception and embodiment -- 5. Microscopies -- References -- Time lines -- References -- Styles of observation and embodiment -- 1. Introduction -- 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 -- 7. Conclusion -- References -- Cy Twombly -- 1. Rendering the process of mark-making -- 2. The body's intentions opened up into mark-making -- 3. Language/writing - gesture -- References.; 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 -- References -- The neurophenomenology of gesture in the art of Henri Michaux -- 1. From gesture to the pre-gestural -- 2. Michaux's mescaline work as a model for neurophenomenology -- References -- Moving without moving -- 1. Introduction -- 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" -- References -- The "I cannot, but it can" of aesthetic perception -- 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 -- References -- Name index -- Subject index.
• Sommario/riassunto: 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)

Chemical engineering : modelling, simulation, and similitude / / Tanase G. Dobre and Jose G. Sanchez Marcano

• Record Nr.: UNINA9911019406203321
• Autore: Dobre Tanase G
• Pubbl/distr/stampa: Weinheim, : Wiley-VCH, c2007
• ISBN: 9786610921751; 9781280921759; 1280921757; 9783527611102; 352761110X; 9783527611096; 3527611096
• Descrizione fisica: 1 online resource (571 p.)
• Altri autori (Persone): Sanchez MarcanoJosé G
• Disciplina: 660; 660.072
• Soggetti: Chemical engineering - Research - Methodology
• Lingua di pubblicazione: Inglese
• Formato: Materiale a stampa
• Livello bibliografico: Monografia
• Note generali: Description based upon print version of record.
• Nota di bibliografia: Includes bibliographical references and index.
• Nota di contenuto: Chemical Engineering; Contents; Preface; 1 Why Modelling?; 1.1 Process and Process Modelling; 1.2 Observations on Some General Aspects of Modelling Methodology; 1.3 The Life-cycle of a Process and Modelling; 1.3.1 Modelling and Research and Development Stage; 1.3.2 Modelling and Conceptual Design Stage; 1.3.3 Modelling and Pilot Stage; 1.3.4 Modelling and Detailed Engineering Stage; 1.3.5 Modelling and Operating Stage; 1.4 Actual Objectives for Chemical Engineering Research; 1.5 Considerations About the Process Simulation; 1.5.1 The Simulation of a Physical Process and Analogous Computers; References2 On the Classification of Models; 2.1 Fields of Modelling and Simulation in Chemical Engineering; 2.1.1 Steady-state Flowsheet Modelling and Simulation; 2.1.2 Unsteady-state Process Modelling and Simulation; 2.1.3 Molecular Modelling and Computational Chemistry; 2.1.4 Computational Fluid Dynamics; 2.1.5 Optimisation and Some Associated Algorithms and Methods; 2.1.6 Artificial Intelligence and Neural Networks; 2.1.7 Environment, Health, Safety and Quality Models; ; 2.1.8 Detailed Design Models and Programs; 2.1.9 Process Control; 2.1.10 Estimation of Parameters; 2.1.11 Experimental Design2.1.12 Process Integration; 2.1.13 Process Synthesis; 2.1.14 Data Reconciliation; 2.1.15 Mathematical Computing Software; 2.1.16 Chemometrics; 2.2 Some Observations on the Practical Use of Modelling and Simulation; 2.2.1 Reliability of Models and Simulations; 2.2.2 The Role of Industry as Final User of Modelling and Simulation; 2.2.3 Modelling and Simulation in Innovations; 2.2.4 Role of Modelling in Technology Transfer and Knowledge Management; 2.2.5 Role of the Universities in Modelling and Simulation Development; References; 3 Mathematical Modelling Based on Transport Phenomena3.1 Algorithm for the Development of a Mathematical Model of a Process; 3.1.1 Some Observations about the Start of the Research; 3.1.2 The Limits of Modelling Based on Transport Phenomena; 3.2 An Example: From a Written Description to a Simulator; 3.3 Chemical Engineering Flow Models; 3.3.1 The Distribution Function and the Fundamental Flow Models; 3.3.2 Combined Flow Models; 3.3.3 The Slip Flow Effect on the Efficiency of a Mechanically Mixed Reactor in a Permanent Regime; 3.3.4 Dispersion Flow Model; 3.3.5 Examples; 3.3.5.1 Mechanically Mixed Reactor for Reactions in Liquid Media3.3.5.2 Gas Flow in a Fluidized Bed Reactor; 3.3.5.3 Flow in a Fixed Bed Catalytic Reactor; 3.3.6 Flow Modelling using Computational Fluid Dynamics; 3.4 Complex Models and Their Simulators; 3.4.1 Problem of Heating in a Zone Refining Process; 3.4.2 Heat Transfer in a Composite Medium; 3.4.3 Fast Chemical Reaction Accompanied by Heat and Mass Transfer; 3.5 Some Aspects of Parameters Identification in Mathematical Modelling; 3.5.1 The Analytical Method for Identifying the Parameters of a Model; 3.5.1.1 The Pore Radius and Tortuosity of a Porous Membrane for Gas Permeation
• Sommario/riassunto: A description of the use of computer aided modeling and simulation in the development, integration and optimization of industrial processes. The two authors elucidate the entire procedure step-by-step, from basic mathematical modeling to result interpretation and full-scale process performance analysis. They further demonstrate similitude comparisons of experimental results from different systems as a tool for broadening the applicability of the calculation methods.Throughout, the book adopts a very practical approach, addressing actual problems and projects likely to be encountered by the