Vision in Motion: Streams of Sensation and Configurations of Time

ISBN-13: 9783037345221 / Angielski / Twarda / 2016 / 528 str.

Michael F. Zimmermann

Opis

Vision is not just a simple recognition of what passes through our field of sight, the reflection and observation of light and shape. Even before Freud posited dreams as a way of "seeing" even as we sleep, the writings of philosophers, artists, and scientists from Goethe to Cezanne have argued that to understand vision as a mere mirroring of the outside world is to overlook a more important cognitive act of seeing that is dependent on time.

Bringing together a renowned international group of contributors, Vision in Motion explores one of the most vexing problems in the study of vision and cognition: To make sense of the sensations we experience when we see something, we must configure many moments into a synchronous image. This volume offers a critical reexamination of seeing that restores a concept of "vision in motion" that avoids reducing the sensations we experience to narrative chronological sequencing. The contributors draw on Hume, Bergson, and Deleuze, among others, to establish a nuanced idea of how we perceive.

Spis treści

11 - 40 Introduction (Michael F. Zimmermann)43 - 68 Moving (Claude Imbert)69 - 108 Seeing (Michael F. Zimmermann)111 - 130 Vision in Locomotion (Ségolène Le Men)131 - 146 Poetic and Media-Oriented Perception in Post-Romantic Modernism (Christian Wehr)147 - 164 Objects at a Distance (Tobias Teutenberg)165 - 182 Synchronies of Violence (Carmen Belmonte)183 - 200 From Verticality to Horizontality (Nolwenn Mégard)201 - 220 Mapping the Eye (Christoph Wagner)221 - 234 Aesthetic Echoes in the Beholder's Eye? (Hanna Brinkmann, Laura Commare)235 - 254 Capturing Motion, Shaping Time (Fabienne Liptay)257 - 270 Edgar Degas's "Ballet class" (Christian Berger)271 - 286 Dancing Like Mondrian Paints (Anja Pawel)287 - 302 1913 (Ilaria Cicali)303 - 316 Pina Bausch's Choreography (Fabienne Brugère)317 - 334 Arabesque Vision (Alexander Schwan)337 - 360 Sculpture and Temporality (Catherine Chevillot)361 - 374 Configuring Poetic Time (Boris Roman Gibhardt)375 - 388 "Here, everything moves; nothing is dead here" (Sophie Goetzmann)389 - 410 Movement-Afterimages (Henning Schmidgen)411 - 426 The Physicality of Here and Now (Annika Schlitte)427 - 438 Run (Meg R. Jackson)439 - 450 "Whatever I Photograph, I Always Lose" (Florian Leitner)453 - 466 Printed Growth (Pia Rudolph)467 - 480 Catching a Glimpse through Time (Olga B. Özbek)481 - 494 The Media of 'In-Depth Perception' (Maria Grazia Messina)495 - 513 The Two Times of the Word (Caterina Toschi)515 - 529 The Temporal Dimension in Surrealist Paintings of the Late 1930s (Shindô Hisano)531 - 545 Carlfriedrich Claus's Speech Sheets 'Procedural Manifestation of New Relationships between Man and Woman' (Constanze Fritzsch)549 - 556 George Kubler and the Question of Time and Temporality (Hans-Jörg Rheinberger)557 - 573 Pathos on the Run (Dominik Brabant)575 - 590 Art as a Form of Time (Audrey Rieber)591 - 611 Henri Focillon's 'The Life of Forms', "Forms in the Realm of Time," and George Kubler's 'The Shape of Time' (Gottfried Kerscher)613 - 630 George Kubler's 'Time-Solid' (Karsten Heck)631 - 636 Kubler and Focillon (Henri Zerner)637 - 642 Authors643 - 644 Acknowledgments645 - 656 Picture Index

O autorze

Michael F. Zimmermann studierte Kunstgeschichte, Philosophie und Geschichte in Köln, Rom und Paris. 1985-1990 war er wissenschaftlicher Assistent an der FU Berlin und 1990-91 am deutschen Kunsthistorischen Institut in Florenz, von 1991 bis 2002 Zweiter Direktor am Zentralinstitut für Kunstgeschichte in München und 2002-2004 ordentlicher Professor für Kunstgeschichte der Neuzeit und der Gegenwart an der Université de Lausanne. Seither ist er Lehrstuhlinhaber für Kunstgeschichte der Katholischen Universität Eichstätt-Ingolstadt. Seine Forschungsschwerpunkte sind die Bildkünste des 19. und 20. Jahrhunderts, die Fachgeschichte und Kunstphilosophie.