A Walk in the Park: Kinesthesia in the Arts of Landscape

Erscheinungsjahr 2024
ISBN: 978-90-04-69692-1
Verlag: Brill

Buch, Englisch, Band 3, 440 Seiten, Format (B × H): 163 mm x 241 mm, Gewicht: 658 g

Reihe: Transcultural Aesthetics

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.

Autoren/Hrsg.

Pashman, Susan

Fachgebiete

• Geisteswissenschaften Architektur Garten- und Landschaftsarchitektur
• Geisteswissenschaften Philosophie Ästhetik
• Geowissenschaften Geographie | Raumplanung Physische Geographie und Topographie
• Sozialwissenschaften Politikwissenschaft Politikwissenschaft Allgemein Politische Theorie, Politische Philosophie
• Geisteswissenschaften Philosophie Sozialphilosophie, Politische Philosophie

Inhaltsverzeichnis

Acknowledgements

List of Figures

Introduction

Part 1: The Double Problem of Landscape

Introduction to Part 1

1 Traditional Concepts of Landscape

2 Modes of Representing Landscape

3 Recent Efforts to Resolve the Conceptual Problem

4 Contemporary Approaches to the Problem of Representation

5 Contributions from an Expanded Field of Philosophical Aesthetics

Part 2: Kinesthesia: the Key to Understanding Landscape’s Medium

Introduction to Part 2

6 Kinesthesia, the “Sixth Sense,” is Based in Bodily Movement

7 Kinesthesia in the Perception of Depth

8 Subjective Evidence of Kinesthesia in Depth Perception: Experiences of Landscape and Painting

9 Considering Kinesthesia Resolves many Problems

10 A Walk in the Forest: Kinesthesia in Landscape’s Aesthetic Medium

Part 3: From Motion to Emotion

Introduction to Part 3

11 Emotion and Feeling: Two Distinct Kinesthetic Phenomena

12 Feelings are Uniquely Correlated with Kinesthetic Patterns

13 Whole-Body Kinesthesia: How Movement Feels

14 The Role of “Mirror Neurons” in Felt Emotion

Part 4: Kinesthesia Lies at the Core of Artistic Expression

Introduction to Part 4

15 Four Theories of Artistic Expression

16 A New Theory of Aesthetics

Part 5: Landscape as Art

Introduction to Part 5

17 Creating Expressive Landscape

18 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 Expression

Introduction to Part 6

20 Landscape and the Art of Sculpture

21 Landscape and the Art of Architecture

22 Landscape, Earthworks, and Site-Specific Sculpture

23 Landscape and the Art of Painting

24 Landscape and the Art of Music

25 Landscape and the Art of Dance (for the Spectator)

26 Landscape Art and the Art of Dance (for the Dancer): Two Choreographies

27 Landscape and the Art of Cinema

28 Kinesthesia’s Unique Role in the Art of Landscape

29 Kinesthesia, Expression, Landscape: Some Concluding Thoughts

Bibliography

Index

Über Autor(innen)

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.