9783037345221
9783037349076
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 Cézanne 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.
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.
Table of Contents
Michael F. Zimmermann
Introduction
I. VISION IN MOTION: FRAMING AND PERSPECTIVATION
Claude Imbert
Moving
Michael F. Zimmermann
Seeing
II. ORDERS AND REGIMES OF TIME: DISCIPLINE AND POETICS
Ségolène Le Men
Vision in Locomotion
The "Train Effect" in the Visual Am, Its Anticipation in Phantasmagoria,
and Its Continuation in Film
Christian Wehr
Poetic and Media-Oriented Perception in Post-Romantic Modernism
From Baudelaire to Buñuel
Tobias Teutenberg
Objects at a Distance
Karl Schnaase's Description of the Antwerp Cathedral (1834) and
the Pedagogic Conditioning of the Eye During the Nineteenth Century
Carmen Belmonte
Synchronies of Violence
Italian Colonialism and Marinetti's Depiction of Africa in Mafarka the Futurist
Nolwenn Mégard
From Verticality to Horizontality
Tilting the Gaze and Learning How to See
Christoph Wagner
Mapping the Eye
Laocoön and Eye Movement in Art
Laura Commare and Hanna Brinkmann
Aesthetic Echoes in the Beholder's Eye?
Empirical Evidence for the Divergence of Theory and Practice
in the Perception of Abstract Art
Fabienne Liptay
Capturing Motion, Shaping Time
From Chronophotography to Digital Film
III. FIGURES OF DANCE
Christian Berger
Edgar Degas's Ballet Classes
Latent Motion and the Reconfiguration of Motifs
Anja Pawel
Dancing Like Mondrian Paints
The Interaction of Dance and Abstract Art (1900–1930)
llarla Clean
1913
Archipenko's Plaster Statues, or The Time of Dancing
Fabienne Brugère
Pina Bausch's Choreography
A Laboratory for Art or for Life?
Alexander Schwan
Arabesque Vision
On Perceiving Dancing as Écriture Corporelle in
William Forsythe's The Vertiginous Thrill of Exactitude
IV. PROTRACTED PRESENCE AND DURATION
Catherine Chevlllot
Sculpture and Temporality
Art as Experiment under the Spell of Vitalism
Boris Roman Gibhardt
Configuring Poetic Time
Figures of Movement and Perception in Marcel Proust's
À la recherche du temps perdu
Sophie Goetzmann
"Here, everything moves; nothing is dead here"
Perpetuum Mobile and Time Control in the Work of Paul Scheerbart
and Bruno Taut
Henning Schmldgen
Movement-Afterimages
Marcel Duchamp's ANÉMIC CINÉMA
Annika Schlitte
The Physicality of Here and Now
Place and Time in Robert Smithson's Works
Meg R. Jackson
Run
The Poetic Use of the Moving Body in Contemporary Time-Based Practices
Rorlan Leitner
"Whatever I Photograph, I Always lose"
Images of Death and Configurations of Time in Peeping Tom and Vacancy
V. SEIZING MOTION COMPREHENDING TIME
Pia Rudolph
Printed Growth
Temporality in Sixteenth- and Seventeenth-Century Herbal Books
Olga B. Özbek
Catching a Glimpse through Time
Notes on Wolheim’s Concept of the Internal Spectator
Maria Grazia Messina
The Media of In-Depth Perception
Picasso’s Work in the Dadaist Photomontages
Shindô Hisano
The Temporal Dimension in Surrealist Paintings of the Late 1930s
Constanse Fritzsch
Carlfriedrich Claus’s Speech Sheets Procedural Manifestation of New Relationships
Between Man and Woman: A Crystallization of the Exploration and Incorporation of Marxist Thought
VI. SHAPING HISTORY: TIME AND OBJECTIVITY
Hans-Jörg Rheinberger
George Kubler and the Question of Time and Temporality
Dominik Brabant
Pathos on the Run
Auguste Rodin, Aby Warburg, and the Movement of Images
Audrey Rieber
Art as a Form of Time
Some Remarks on Artwork and History Based on Reflections
from and about Erwin Panofsky
Gottfried Kerscher
Henri Focillon's The Life of Forms, "Forms in the Realm of Time,"
and George Kubler's The Shape of Time
Karsten Heck
George Kubler's Time-Solid
A Visual Model of An-Historical Time
Henri Zerner
Kubler and Focillon
A History of Things as a Response to The Life of Forms
Authors
Acknowledgments
Picture Index
Introduction
I. VISION IN MOTION: FRAMING AND PERSPECTIVATION
Claude Imbert
Moving
Michael F. Zimmermann
Seeing
II. ORDERS AND REGIMES OF TIME: DISCIPLINE AND POETICS
Ségolène Le Men
Vision in Locomotion
The "Train Effect" in the Visual Am, Its Anticipation in Phantasmagoria,
and Its Continuation in Film
Christian Wehr
Poetic and Media-Oriented Perception in Post-Romantic Modernism
From Baudelaire to Buñuel
Tobias Teutenberg
Objects at a Distance
Karl Schnaase's Description of the Antwerp Cathedral (1834) and
the Pedagogic Conditioning of the Eye During the Nineteenth Century
Carmen Belmonte
Synchronies of Violence
Italian Colonialism and Marinetti's Depiction of Africa in Mafarka the Futurist
Nolwenn Mégard
From Verticality to Horizontality
Tilting the Gaze and Learning How to See
Christoph Wagner
Mapping the Eye
Laocoön and Eye Movement in Art
Laura Commare and Hanna Brinkmann
Aesthetic Echoes in the Beholder's Eye?
Empirical Evidence for the Divergence of Theory and Practice
in the Perception of Abstract Art
Fabienne Liptay
Capturing Motion, Shaping Time
From Chronophotography to Digital Film
III. FIGURES OF DANCE
Christian Berger
Edgar Degas's Ballet Classes
Latent Motion and the Reconfiguration of Motifs
Anja Pawel
Dancing Like Mondrian Paints
The Interaction of Dance and Abstract Art (1900–1930)
llarla Clean
1913
Archipenko's Plaster Statues, or The Time of Dancing
Fabienne Brugère
Pina Bausch's Choreography
A Laboratory for Art or for Life?
Alexander Schwan
Arabesque Vision
On Perceiving Dancing as Écriture Corporelle in
William Forsythe's The Vertiginous Thrill of Exactitude
IV. PROTRACTED PRESENCE AND DURATION
Catherine Chevlllot
Sculpture and Temporality
Art as Experiment under the Spell of Vitalism
Boris Roman Gibhardt
Configuring Poetic Time
Figures of Movement and Perception in Marcel Proust's
À la recherche du temps perdu
Sophie Goetzmann
"Here, everything moves; nothing is dead here"
Perpetuum Mobile and Time Control in the Work of Paul Scheerbart
and Bruno Taut
Henning Schmldgen
Movement-Afterimages
Marcel Duchamp's ANÉMIC CINÉMA
Annika Schlitte
The Physicality of Here and Now
Place and Time in Robert Smithson's Works
Meg R. Jackson
Run
The Poetic Use of the Moving Body in Contemporary Time-Based Practices
Rorlan Leitner
"Whatever I Photograph, I Always lose"
Images of Death and Configurations of Time in Peeping Tom and Vacancy
V. SEIZING MOTION COMPREHENDING TIME
Pia Rudolph
Printed Growth
Temporality in Sixteenth- and Seventeenth-Century Herbal Books
Olga B. Özbek
Catching a Glimpse through Time
Notes on Wolheim’s Concept of the Internal Spectator
Maria Grazia Messina
The Media of In-Depth Perception
Picasso’s Work in the Dadaist Photomontages
Shindô Hisano
The Temporal Dimension in Surrealist Paintings of the Late 1930s
Constanse Fritzsch
Carlfriedrich Claus’s Speech Sheets Procedural Manifestation of New Relationships
Between Man and Woman: A Crystallization of the Exploration and Incorporation of Marxist Thought
VI. SHAPING HISTORY: TIME AND OBJECTIVITY
Hans-Jörg Rheinberger
George Kubler and the Question of Time and Temporality
Dominik Brabant
Pathos on the Run
Auguste Rodin, Aby Warburg, and the Movement of Images
Audrey Rieber
Art as a Form of Time
Some Remarks on Artwork and History Based on Reflections
from and about Erwin Panofsky
Gottfried Kerscher
Henri Focillon's The Life of Forms, "Forms in the Realm of Time,"
and George Kubler's The Shape of Time
Karsten Heck
George Kubler's Time-Solid
A Visual Model of An-Historical Time
Henri Zerner
Kubler and Focillon
A History of Things as a Response to The Life of Forms
Authors
Acknowledgments
Picture Index