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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.
"This is an urgently needed book – as the question of choreographing behavior enters into realms outside of the aesthetic domains of theatrical dance, Susan Foster writes a thoroughly compelling argument." – André Lepecki, New York University "May well prove to be one of Susan Foster’s most important works." – Ramsay Burt, De Montford University, UK What do we feel when we watch dancing? Do we "dance along" inwardly? Do we sense what the dancer’s body is feeling? Do we imagine what it might feel like to perform those same moves? If we do, how do these responses influence how we experience dancing and how we derive significance from it? Choreographing Empathy challenges the idea of a direct psychophysical connection between the body of a dancer and that of their observer. In this groundbreaking investigation, Susan Foster argues that the connection is in fact highly mediated and influenced by ever-changing sociocultural mores. Foster examines the relationships between three central components in the experience of watching a dance – the choreography, the kinesthetic sensations it puts forward, and the empathetic connection that it proposes to viewers. Tracing the changing definitions of choreography, kinesthesia, and empathy from the 1700s to the present day, she shows how the observation, study, and discussion of dance have changed over time. Understanding this development is key to understanding corporeality and its involvement in the body politic.
This book examines pioneering Latin American kinetic artists who helped develop kinetic art into an international movement. Kinesthesia: Latin American Kinetic Art, 1954-1969 examines the influential and visually stunning work of South American kinetic artists. While Southern California was becoming the North American epicenter for Light and Space art in the 1960s, separate yet closely related technical experiments had been unfolding in a handful of major cities of South America, as well as in Paris, the European center for kinetic art. Kinesthesia highlights the broad differences that emerged among the two principal South American centers of activity: Argentina, where kinetic art grew out of local debates about painting; and Venezuela, where pioneering notions of modern architecture stimulated a synthesis of art and design. Featured in this volume are kinetic sculptures and installations by Jesús Rafael Soto, Julio Le Parc, Carlos Cruz-Diez, Martha Boto, and others, as well as essays that explore the history of this movement, examine the artists' reception by European and American audiences in the context of the Cold War, and link their achievements to 21st-century artists and their work.
Providing clear, well-illustrated descriptions of brain structures in light of their functions, this cohesive and well-established textbook fosters understanding of the intimate relationship between the structure and function of the nervous system. Its focus on the integration of basic sciences with their clinical applications makes the book particularly well-suited for medical students needing knowledge of neuroscience as a basis for clinical thinking. For the third edition, two new chapters have been added on the vestibular system and control of eye movements, and all other chapters have been thoroughly revised.
This comprehensive resource and clinical guide for students and practicing pediatric therapists features current information on the neurological foundations of hand skills, the development of hand skills, and intervention with children who have problems related to hand skills. Covers foundation and development of hand skills, therapeutic intervention, and special problems and approaches. Is readable, concise, and well-organized with a consistent format throughout. Integrates recent research findings and current thinking throughout the text. Emphasizes neuroscience and the hand's sensory function and haptic perception. Applies neuroscience and development frames of reference throughout. Implications for practice included in each chapter. Presents concepts in the foundation/development chapters that are linked with the intervention chapters. Seven new chapters reflect current practice in the field and cover cognition & motor skills, handedness, fine-motor program for preschoolers, handwriting evaluation, splinting the upper extremity of the child, pediatric hand therapy, and efficacy of interventions. Extensively revised content throughout includes new research and theories, new techniques, current trends, and new information sources. 9 new contributors offer authoritative guidance in the field. Over 200 new illustrations demonstrate important concepts with new clinical photographs and line drawings. Over 50 new tables and boxes highlight important information. An updated and expanded glossary defines key terms.
In Agency and Embodiment, Carrie Noland examines the ways in which culture is both embodied and challenged through the corporeal performance of gestures. Arguing against the constructivist metaphor of bodily inscription dominant since Foucault, Noland maintains that kinesthetic experience, produced by acts of embodied gesturing, places pressure on the conditioning a body receives, encouraging variations in cultural practice that cannot otherwise be explained. Drawing on work in disciplines as diverse as dance and movement theory, phenomenology, cognitive science, and literary criticism, Noland argues that kinesthesia—feeling the body move—encourages experiment, modification, and, at times, rejection of the routine. Noland privileges corporeal performance and the sensory experience it affords in order to find a way beyond constructivist theory’s inability to produce a convincing account of agency. She observes that despite the impact of social conditioning, human beings continue to invent surprising new ways of altering the inscribed behaviors they are called on to perform. Through lucid close readings of Marcel Mauss, Maurice Merleau-Ponty, Bill Viola, André Leroi-Gourhan, Henri Michaux, Judith Butler, Frantz Fanon, Jacques Derrida, and contemporary digital artist Camille Utterback, Noland illustrates her provocative thesis, addressing issues of concern to scholars in critical theory, performance studies, anthropology, and visual studies.
A foundation book on sports injury management with application to musculoskeletal injuries, representing primary clinical concerns for clinicians dealing with sports injuries. It focuses on planning a sequential treatment program for soft tissue injuries and fractures.