• Medientyp: Buch
  • Titel: A walk in the park : kinesthesia in the arts of landscape
  • Enthält: Traditional concepts of landscape -- Modes of representing landscape -- Recent efforts to resolve the conceptual problem -- Contemporary approaches to the problem of representation -- Contributions from an expanded field of philosophical aesthetics -- Kinesthesia, the "sixth sense," is based in bodily movement -- Kinesthesia in the perception of depth -- Subjective evidence of kinesthesia in depth perception : experiences of landscape and painting -- Considering kinesthesia resolves many problems -- A walk in the forest : kinesthesia in landscape's aesthetic medium -- Emotion and feeling : two distinct kinesthetic phenomena -- Feelings are uniquely correlated with kinesthetic patterns -- Whole-body kinesthesia : how movement feels -- The role of "mirror neurons" in felt emotion -- Four theories of artistic expression -- A new theory of aesthetics -- Creating expressive landscape -- Do landscape's materials inhibit expressivity? -- Does landscape possess "an artworld" and "an art history?" -- Landscape and the art of sculpture -- Landscape and the art of architecture -- Landscape, earthworks, and site-specific sculpture -- Landscape and the art of painting -- Landscape and the art of music -- Landscape and the art of dance (for the spectator) -- Landscape art and the art of dance (for the dancer) : two choreographies -- Landscape and the art of cinema -- Kinesthesia's unique role in the art of landscape -- Kinesthesia, expression, landscape : some concluding thoughts.
  • Beteiligte: Pashman, Susan [VerfasserIn]
  • Erschienen: Leiden; Boston: Brill, [2024]
  • Erschienen in: Transcultural aesthetics ; 3
  • Umfang: XI, 339 Seiten; Illustrationen
  • Sprache: Englisch
  • ISBN: 9789004696921
  • RVK-Notation: CC 6900 : Abhandlungen zur Ästhetik und Kunstphilosophie
  • Schlagwörter: Landschaft > Ästhetik
  • Entstehung:
  • Anmerkungen: Includes bibliographical references and index
  • Beschreibung: "Current neuroscience discloses that all emotional feeling originates as movement. Kinesthesia, our sixth sense, begins with movement of muscle cells and ends as emotion. Depth perception, which depends on movement, is always feeling-laden. To be expressive, art must somehow move our bodies. Studies of expressive dance demonstrate that we unconsciously model observed movements, duplicating in ourselves the feelings that generated the dancer's movements. The art of landscape creates choreography for a walk. But each of the fine arts play a role in landscape design. Here, then, is a new theory of landscape that easily extends to all the fine arts, explaining our enjoyment in landscape, as well as aesthetic enjoyment more generally"--
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