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Vision in MotionStreams of Sensation and Configurations of Time

sommaire
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)
 
Ilaria Cicali
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 Chevillot
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 Schmidgen
Movement-Afterimages. Marcel Duchamp's Anemic Cinema
 
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


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