Walk in the Park: Kinesthesia in the Arts of Landscape

Inbunden, Engelska, 2024

3 769 kr

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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.

Produktinformation

Utgivningsdatum2024-04-03
Mått155 x 235 x 28 mm
Vikt712 g
FormatInbunden
SpråkEngelska
SerieTranscultural Aesthetics
Antal sidor440
FörlagBrill
ISBN9789004696921

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Susan Pashman holds a Ph.D. in Philosophy from Stony Brook University, a C.L.D. from Harvard’s Landscape Institute and an M.A. in Landscape History and Design from Inchbald School of Design in London. Her M.A. in Philosophy is from Columbia; her law degree from Brooklyn Law School; her B.A. from N.Y.U.She taught Philosophy at Adelphi University, and Landscape Aesthetics at the Landscape Institute. Articles based on this work appeared in “The Journal of Aesthetic Education” and “Dance Research.” She is the author of two novels, one non-fiction work and many short stories, as well as articles on Jewish themes.

AcknowledgementsList of FiguresIntroductionPart 1: The Double Problem of LandscapeIntroduction to Part 11 Traditional Concepts of Landscape2 Modes of Representing Landscape3 Recent Efforts to Resolve the Conceptual Problem4 Contemporary Approaches to the Problem of Representation5 Contributions from an Expanded Field of Philosophical AestheticsPart 2: Kinesthesia: the Key to Understanding Landscape’s MediumIntroduction to Part 26 Kinesthesia, the “Sixth Sense,” is Based in Bodily Movement7 Kinesthesia in the Perception of Depth8 Subjective Evidence of Kinesthesia in Depth Perception: Experiences of Landscape and Painting9 Considering Kinesthesia Resolves many Problems10 A Walk in the Forest: Kinesthesia in Landscape’s Aesthetic MediumPart 3: From Motion to EmotionIntroduction to Part 311 Emotion and Feeling: Two Distinct Kinesthetic Phenomena12 Feelings are Uniquely Correlated with Kinesthetic Patterns13 Whole-Body Kinesthesia: How Movement Feels14 The Role of “Mirror Neurons” in Felt EmotionPart 4: Kinesthesia Lies at the Core of Artistic ExpressionIntroduction to Part 415 Four Theories of Artistic Expression16 A New Theory of AestheticsPart 5: Landscape as ArtIntroduction to Part 517 Creating Expressive Landscape18 Do Landscape’s Materials Inhibit Expressivity?19 Does Landscape Possess “An Artworld” and “An Art History?”Part 6: Kinesthesia is the Basis of All Artistic ExpressionIntroduction to Part 620 Landscape and the Art of Sculpture21 Landscape and the Art of Architecture22 Landscape, Earthworks, and Site-Specific Sculpture23 Landscape and the Art of Painting24 Landscape and the Art of Music25 Landscape and the Art of Dance (for the Spectator)26 Landscape Art and the Art of Dance (for the Dancer): Two Choreographies27 Landscape and the Art of Cinema28 Kinesthesia’s Unique Role in the Art of Landscape29 Kinesthesia, Expression, Landscape: Some Concluding ThoughtsBibliographyIndex