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[null,"1.","Record Nr.",null,"UNINA9910958725203321"]
[null,null,"Titolo",null,"Moving imagination : explorations of gesture and inner movement / / edited by Helena De Preester"]
[null,null,"Pubbl/distr/stampa",null,"Amsterdam, : John Benjamins Pub. Co., 2013"]
[null,null,"ISBN",null,"9789027272003"]
[{"$nulls":4},"902727200X"]
[null,null,"Edizione",null,"[1st ed.]"]
[null,null,"Descrizione fisica",null,"1 online resource (326 p.)"]
[null,null,"Collana",null,"Advances in consciousness research, , 1381-589X ; ; v. 89"]
[null,null,"Disciplina",null,"700.1/9"]
[null,null,"Soggetti",null,"Mind and body"]
[{"$nulls":4},"Human beings - Attitude and movement"]
[{"$nulls":4},"Arts - Psychological aspects"]
[{"$nulls":4},"Arts audiences - Psychology"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Description based upon print version of record."]
[null,null,null,"Nota di bibliografia","Includes bibliographical references and indexes."]
[null,null,"Nota di contenuto",null,"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 -- "]
[{"$nulls":4},"Gesture, space, and writing -- Rajiv Kaushik -- Pre-motor and motor activities in early medieval handwriting -- Jan W. M. van Zwieten &amp -- Koos Jaap van Zwieten -- The neurophenomenology of gesture in the art of Henri Michaux -- Jay Hetrick -- Moving without moving -- A first-person experiential phenomenological approach -- Natalie Depraz -- The \"I cannot, but it can\" of aesthetic perception -- Erica Harris -- Moving imagination."]
[{"$nulls":4},"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."]
[{"$nulls":4},"Is gesture knowledge? A philosophical approach to the epistemology of musical gestures -- 1. Introduction -- 2. Musical gestures as subject of musical scholarship and interdisciplinary research -- 3. Classical epistemology and propositional knowledge -- 4. Implicit knowledge -- 5. Gesture as critique on cartesian dualism -- 6. Musical gestures and technologies -- 7. Musical gestures as cultural and social phenomenon -- 8. Conclusion -- References -- Sound in film as an inner movement -- 1. Introduction -- 2. Existing views on sound in film -- 3. Sound in film as an audible dynamic energetic movement -- 4. Different listening strategies provoking different kinds of imagination -- 5. Different kinds of images evoked by listening to sound -- 6. Listening to a recorded sound as such -- 7. Conclusion -- References -- Body English -- 1. Len Lye and the dance -- 2. Kinaesthetic empathy in dance -- 3. Len Lye's conception of aesthetic reception -- 4. The double movement of introjection and projection -- References -- The Somatic in Kinetic Sculpture -- 1. Introduction -- 2. The art that moves -- 3. The introverted kinetic sculpture -- 4. From Len Lye to an introverted kinetic sculpture -- 5. In conclusion -- References -- Edgar Degas -- 1. Freezing movement -- 2. Moments of being -- 3. Degas's development -- 4. Lessons from loss -- proprioception and embodiment -- 5. Microscopies -- References -- Time lines -- References -- Styles of observation and embodiment -- 1. Introduction "]
[{"$nulls":4},"-- 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."]
[{"$nulls":4},"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."]
[null,null,null,"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)"]