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Author: Romana Karla Schuler
Publisher: Walter de Gruyter GmbH & Co KG
ISBN: 3110422999
Category : Art
Languages : en
Pages : 304
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Book Description
Die avancierten Kunstschaffenden haben seit jeher innovativen Erfindungen aus dem Bereich der Naturwissenschaften zu den Themen Licht und Perspektive für ihre Darstellungen eingesetzt und dabei nachweislich sogenannte Sehapparate verwendet. Seit Anfang der zwanziger Jahre des 20. Jahrhunderts setzten sich Künstler wie Marcel Duchamp mit Scheinbewegungen auseinander. Aufbauend auf diesen frühen Ideen und künstlerischen Experimenten kam besonders die Scheinkontur durch die Beschäftigung mit Scheinräumlichkeit zu neuem Interesse, vor allem vonseiten der Vertreter der kinetischen Kunst und der Op-Art. Seeing Motion gibt einen Überblick entlang einer historischen Linie, die sich zwischen den Theorien der experimentellen visuellen Wahrnehmungsforschung (Hermann Helmholtz, Ernst Mach, Sigmund Exner, Wilhelm Stern, Vittorio Benussi, Max Wertheim, George Stratton, Ivo Kohler) bis hin zur apparativen Kunst (Alfons Schilling) sowie zur elektronisch-digitalen Kunst (Jeffrey Shaw, Peter Weibel) abzeichnet.
Author: Romana Karla Schuler
Publisher: Walter de Gruyter GmbH & Co KG
ISBN: 3110422999
Category : Art
Languages : en
Pages : 304
Get Book Here
Book Description
Die avancierten Kunstschaffenden haben seit jeher innovativen Erfindungen aus dem Bereich der Naturwissenschaften zu den Themen Licht und Perspektive für ihre Darstellungen eingesetzt und dabei nachweislich sogenannte Sehapparate verwendet. Seit Anfang der zwanziger Jahre des 20. Jahrhunderts setzten sich Künstler wie Marcel Duchamp mit Scheinbewegungen auseinander. Aufbauend auf diesen frühen Ideen und künstlerischen Experimenten kam besonders die Scheinkontur durch die Beschäftigung mit Scheinräumlichkeit zu neuem Interesse, vor allem vonseiten der Vertreter der kinetischen Kunst und der Op-Art. Seeing Motion gibt einen Überblick entlang einer historischen Linie, die sich zwischen den Theorien der experimentellen visuellen Wahrnehmungsforschung (Hermann Helmholtz, Ernst Mach, Sigmund Exner, Wilhelm Stern, Vittorio Benussi, Max Wertheim, George Stratton, Ivo Kohler) bis hin zur apparativen Kunst (Alfons Schilling) sowie zur elektronisch-digitalen Kunst (Jeffrey Shaw, Peter Weibel) abzeichnet.
Author: Max Wertheimer
Publisher: MIT Press
ISBN: 0262017466
Category : Medical
Languages : en
Pages : 313
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Book Description
This work by and about Max Wertheimer collects together new translations of his two most important articles and places them in both historical and contemporary contexts with the addition of essays by Michael Wertheimer ... [et al.]
Author: Michael F. Zimmermann
Publisher:
ISBN: 9783037349076
Category : ART
Languages : en
Pages : 656
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Book Description
Author: Erin Stutland
Publisher: Hay House, Inc
ISBN: 1401955282
Category : Self-Help
Languages : en
Pages : 273
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Book Description
Mind-body wellness and fitness expert combines mantra, self-reflection, and movement into an accessible 14-day routine for manifesting your best self. Holistic wellness and fitness expert Erin Stutland harnesses all the body's mental, physical, and spiritual energy in her tri-fold approach to creating change. When you move your body while repeating mantras--speaking your desires aloud--manifesting is no longer a purely intellectual exercise or an occasional craft project. Instead, you are expressing your passion through your voice and your body, putting every ounce of your energy in service of what you want. Each chapter breaks down one mantra to use to focus on a key step to achieving your best self, including unearthing your desires, releasing resistance, and taking inspired action. Alongside each mantra, Stutland provides stories from her own life and those of her clients, a meditation or visualization, a journaling exercise, and an easy movement to accompany the mantra to help enhance its resonant power. And to put it all together, you are provided with a 14-day plan so you can design the life you want, infusing the power of movement, mantra, and self-reflection.
Author: Ned Block
Publisher: Oxford University Press
ISBN: 0197622224
Category : Philosophy
Languages : en
Pages : 561
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Book Description
"What is the difference between seeing and thinking? Is the border between seeing and thinking a joint in nature in the sense of a fundamental explanatory difference? Is it a difference of degree? Does thinking affect seeing, i.e. is seeing "cognitively penetrable"? Are we aware of faces, causation, numerosity and other "high-level" properties or only of the colors, shapes and textures that-according to the advocate of high level perception--are the basis on which we see them? Is perception conceptual and propositional? Is perception iconic or more akin to language in being discursive? Is seeing singular? Which is more fundamental, visual attribution or visual discrimination? Is all seeing seeing-as? What is the difference between the format and content of perception and do perception and cognition have different formats? Is perception probabilistic and if so, why are we not normally aware of this probabilistic nature of perception? Are the basic features of mind known as "core cognition" a third category in between perception and cognition? Are there perceptual categories that are not concepts? Where does consciousness fit in with regard to the difference between seeing and thinking? Do the lessons from seeing apply to other senses? These are the questions I will be exploring in this book. I will be exploring them not mainly by appeals to "intuitions" as is common in philosophy of perception but by appeal to empirical evidence, including experiments in neuroscience and psychology"--
Author: Jordan Schonig
Publisher: Oxford University Press
ISBN: 0190093889
Category : Performing Arts
Languages : en
Pages : 265
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Book Description
"Cinematic motion has long been celebrated as an emblem of change and fluidity or claimed as the source of cinema's impression of reality. But such general claims undermine the sheer variety of forms that motion can take onscreen-the sweep of a gesture, the rush of a camera movement, the slow transformations of a natural landscape. What might we learn about the moving image when we begin to account for the many ways that movements move? In The Shape of Motion: Cinema and the Aesthetics of Movement, Jordan Schonig provides a new way of theorizing cinematic motion by examining cinema's "motion forms:" structures, patterns, or shapes of movement unique to the moving image. From the wild and unpredictable motion of flickering leaves and swirling dust that captivated early spectators, to the pulsing abstractions that emerge from rapid lateral tracking shots, to the bleeding pixel-formations caused by the glitches of digital video compression, each motion form opens up the aesthetics of movement to film theoretical inquiry. By pairing close analyses of onscreen movement in narrative and experimental films with concepts from Maurice Merleau-Ponty, Henri Bergson, and Immanuel Kant, Schonig rethinks longstanding assumptions within film studies, such as indexical accounts of photographic images and analogies between the camera and the human eye. Arguing against the intuition that cinema reproduces our natural perception of motion, The Shape of Motion shows how cinema's motion forms do not merely transpose the movements of the world in front of the camera; they transform them"
Author: David C. Knill
Publisher: Cambridge University Press
ISBN: 9780521461092
Category : Computers
Languages : en
Pages : 534
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Book Description
This 1996 book describes an exciting theoretical paradigm for visual perception based on experimental and computational insights.
Author: Erkki Huhtamo
Publisher: MIT Press
ISBN: 0262018519
Category : Social Science
Languages : en
Pages : 461
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Book Description
Tracing the cultural, material, and discursive history of an early manifestation of media culture in the making. Beginning in the late eighteenth century, huge circular panoramas presented their audiences with resplendent representations that ranged from historic battles to exotic locations. Such panoramas were immersive but static. There were other panoramas that moved—hundreds, and probably thousands of them. Their history has been largely forgotten. In Illusions in Motion, Erkki Huhtamo excavates this neglected early manifestation of media culture in the making. The moving panorama was a long painting that unscrolled behind a “window” by means of a mechanical cranking system, accompanied by a lecture, music, and sometimes sound and light effects. Showmen exhibited such panoramas in venues that ranged from opera houses to church halls, creating a market for mediated realities in both city and country. In the first history of this phenomenon, Huhtamo analyzes the moving panorama in all its complexity, investigating its relationship to other media and its role in the culture of its time. In his telling, the panorama becomes a window for observing media in operation. Huhtamo explores such topics as cultural forms that anticipated the moving panorama; theatrical panoramas; the diorama; the "panoramania" of the 1850s and the career of Albert Smith, the most successful showman of that era; competition with magic lantern shows; the final flowering of the panorama in the late nineteenth century; and the panorama's afterlife as a topos, traced through its evocation in literature, journalism, science, philosophy, and propaganda.
Author: Michael Jenkin
Publisher: Cambridge University Press
ISBN: 9780521571043
Category : Computers
Languages : en
Pages : 378
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Book Description
All visual tasks, from the simplest computer graphics program to the most complex biological visual system, require an underlying representation of visual information. The structure or coding of this representation provides the framework for processing the information. Both the biological and computational communities have had to address the task of designing or inferring visual coding strategies. This volume, by some of the most active contributors in the field of visual coding, describes some of the mechanisms used to code descriptions of visual phenomena in both areas. These chapters illustrate the similarities in the problems considered and the common models and algorithms that are proposed to solve them. The book includes an overview that sets the later chapters in context. Researchers in neuroscience and computational vision will find a wealth of new ideas here.
Author: Arthur P. Shimamura
Publisher: Oxford University Press
ISBN: 0199862141
Category : Psychology
Languages : en
Pages : 398
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Book Description
Largely through trial and error, filmmakers have developed engaging techniques that capture our sensations, thoughts, and feelings. Philosophers and film theorists have thought deeply about the nature and impact of these techniques, yet few scientists have delved into empirical analyses of our movie experience-or what Arthur P. Shimamura has coined "psychocinematics." This edited volume introduces this exciting field by bringing together film theorists, philosophers, psychologists, and neuroscientists to consider the viability of a scientific approach to our movie experience.
