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Fabienne Liptay: Capturing Motion, Shaping Time
Capturing Motion, Shaping Time
(S. 235 – 254)
p€ 9,95

Fabienne Liptay

Capturing Motion, Shaping Time
From Chronophotography to Digital Film

PDF, 20 Seiten, 0.0 MB

  • Physiologie
  • Blick
  • Wissenschaftsgeschichte

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Fabienne Liptay

Fabienne Liptay ist Professorin für Filmwissenschaft an der Universität Zürich. Sie lehrt und forscht zur Ästhetik, Geschichte und Theorie des Films. In ihren aktuellen Schriften befasst sie sich mit der Bildlichkeit des Films, mit Aspekten von Licht, Kamera und Bildformat, mit ästhetischen Diskursen und kunstwissenschaftlichen Theorien des Films sowie mit dem Verhältnis zwischen Kino und Museum.
Fabienne Liptay: Telling Images
b€ 40,00 p€ 40,00
Sandra Frimmel (Hg.), Artur Zmijewski, ...: Kunst als Alibi
b€ 25,00 p€ 25,00
Liliana Gómez (Hg.), Fabienne Liptay (Hg.): Eco-operations
b€ 45,00 p OA
Giuseppe Di Salvatore (Hg.), Fabienne Liptay (Hg.): The Sirenic: Follow the Water, Follow the Sound
p€ 50,00 b€ 45,00
Weitere Texte von Fabienne Liptay bei DIAPHANES
Michael F. Zimmermann (Hg.): Vision in Motion
b€ 65,00 p€ 65,00

Michael F. Zimmermann (Hg.)

Vision in Motion
Streams of Sensation and Configurations of Time

Gebunden, 656 Seiten

PDF, 656 Seiten, 0.0 MB

Vision is not mere registration of what enters, via the gateway of our eyes, from the outside world into our inner consciousness. Understanding the act of seeing as mirroring the outside world in mental images overlooks its temporal aspect. From Berkeley to Helmholtz, from Goethe to Cézanne, new discourses based on the physiology of the sense organs lead to new conceptions of vision not only conceived of as a mental process, but as a cognitive activity. Even before Freud interpreted dreams, seeing was conceived of as accompanying our life even when we sleep. However, to understand even the stream of the sensations, we have to configure them in pictures. Since the 19th century, the media reflect about the confrontation of seeing as a diachronic activity and of perception as coded in synchronic images. The contributions to the volume investigate the opposition of the stream of sensations and the configuration of time – from early illustrations of plants to the avant-gardes, from gesture to cinema, from decapitation to dance, from David Hume to Bergson and Deleuze. The main objective is a critical examination of images rendering vision in motion, without reducing them to the temporality of narrative.

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