Machine generated contents note: -- Preface to the English edition \ Translators' Introduction \Preface to the French Edition \ 1. Theses on Movement: First Commentary onBergson \ 2. Frame and Short, Framing and Cutting \ 3. Montage \ 4. TheMovement-Image and its Three Varieties: Second Commentary on Bergson \ 5. ThePerception-Image \ 6. The Affection-Image Face and Close-Up \ 7. TheAffection-Image: Qualities, Powers, Any-Space-Whatevers \ 8. From Affect toAction: The Impulse Image \ 9. The Action-Image: The Large Form \ (...) 10. The Action-Image:The Small Form \ 11. Figures, or the Transformation of Forms \ 12. The Crisisof the Action-Image \ Glossary \ Notes \ Index. (shrink)

Which modernism or modernisms circulate in Deleuze’s two-volume work on cinema? Can one meaningfully claim that both or either The Movement-Image and The Time-Image maintain connections with literary modernism? What relationship if any may be forged between theoretical debates in the areas of literary and film studies as these have been influenced by engagement with Deleuze’s work on cinema? The first obstacle to any successful negotiation of these questions lies in the absence in the books of any reference to (...) the category of modernism – a fact which is after all hardly surprising in a French author of Deleuze’s generation. A second consideration is summed up well by Joost Raessens when he argues that “For Deleuze the term ‘modernity’ is not a neutral category. In effect modern cinema is a representation of differential thought which is determined [...] as a fundamental critique of the classic thought of Plato and Hegel.” Scholars often assert that Deleuze’s modernity owes much to Nietzsche, in the shape of the latter’s demand for a new approach to questions of truth and knowledge. Once life is no longer judged in the name of a higher authority such as the good or the true, the stage is set for Nietzschean transvaluation. This is a process which subjects “every being, every action and passion, even every value, in relation to the life which they involve” to evaluation. This normative model of a cinema which has the capacity to carry out a Nietzschean total critique by means other than philosophy presides over The Time-Image in particular. In terms of the trajectory of Deleuze’s thought, total critique is opposed, in Nietzsche and Philosophy and Difference and Repetition, to Kantian critique as well as to Hegelian sublation. The thinking images of modern cinema, more specifically of its preeminent auteurs in Deleuze’s pantheon such as Welles, Resnais, Godard, and others, can effectuate this new image of thought. Thus is rendered tangible Deleuze’s claim that films think, that cinema thinks. Thus are linked a modernism of cinema and a project which dates back to Difference and Repetition, namely the challenge to a certain image of thought. In this challenge the allies include the two philosophers who dominate the film books – Bergson and Nietzsche. This chapter assumes the position that it is impossible to consider Deleuze’s modernism as being in any way other than intrinsically linked to his overall philosophical system and therefore that it is only in this context that connections with literary modernism can be explored. (shrink)

To evoke the impression of movement in the “immobile” image is one of the central motivations of the visual art, and the activating effect of images has been discussed in art psychology already some hundred years ago. However, this topic has up to now been largely neglected by the researchers in cognitive psychology and neuroscience. This study investigates – from an interdisciplinary perspective – the formation of lateralised instances of motion when an observer perceives movement in an (...) image. A first step was to identify images that evoke a perception of movement in a certain direction and to give this a rating. Reaction times leading to the engagement of a joystick following the presentation of images are used to evidence the postulated movement occasioned by the perception of movement in an image. Where the required direction of joystick moves matched the expected perception of movement direction in the image, considerably shorter reaction times were recorded. The experiment was able to prove a “movement-image compatibility effect” in observers of images. Based on this, the paper revisits and brings up to date the theses on motor sensory response to images which were developed in art psychology at the beginning of the 20th century. It furthermore contributes an embodiment theory interpretation to the prevalent representational explanation of compatibility effects. (shrink)

Which modernism or modernisms circulate in Deleuze’s two-volume work on cinema? Can one meaningfully claim that both or either The Movement-Image and The Time-Image maintain connections with literary modernism? What relationship if any may be forged between theoretical debates in the areas of literary and film studies as these have been influenced by engagement with Deleuze’s work on cinema? The first obstacle to any successful negotiation of these questions lies in the absence in the books of any reference to (...) the category of modernism – a fact which is after all hardly surprising in a French author of Deleuze’s generation. A second consideration is summed up well by Joost Raessens when he argues that “For Deleuze the term ‘modernity’ is not a neutral category. In effect modern cinema is a representation of differential thought which is determined [...] as a fundamental critique of the classic thought of Plato and Hegel.” Scholars often assert that Deleuze’s modernity owes much to Nietzsche, in the shape of the latter’s demand for a new approach to questions of truth and knowledge. Once life is no longer judged in the name of a higher authority such as the good or the true, the stage is set for Nietzschean transvaluation. This is a process which subjects “every being, every action and passion, even every value, in relation to the life which they involve” to evaluation. This normative model of a cinema which has the capacity to carry out a Nietzschean total critique by means other than philosophy presides over The Time-Image in particular. In terms of the trajectory of Deleuze’s thought, total critique is opposed, in Nietzsche and Philosophy and Difference and Repetition, to Kantian critique as well as to Hegelian sublation. The thinking images of modern cinema, more specifically of its preeminent auteurs in Deleuze’s pantheon such as Welles, Resnais, Godard, and others, can effectuate this new image of thought. Thus is rendered tangible Deleuze’s claim that films think, that cinema thinks. Thus are linked a modernism of cinema and a project which dates back to Difference and Repetition, namely the challenge to a certain image of thought. In this challenge the allies include the two philosophers who dominate the film books – Bergson and Nietzsche. This chapter assumes the position that it is impossible to consider Deleuze’s modernism as being in any way other than intrinsically linked to his overall philosophical system and therefore that it is only in this context that connections with literary modernism can be explored. (shrink)

The notion of ‘rhetorical bodies’ argues the cause of the rhetorical elements in the material and the material elements in the rhetorical in ways that can be seen as analogous to the bi-partite modes of Deleuzian film philosophy, ‘movement-image’ and ‘time-image’. Tamil films of the 1940s and 1950s bear the strong imprints of the rhetorical elements of the Self-Respect Movement and Dravidian Movement, which took root in different versions during the 1920s–60s. The narrative locations of the bodies (...) in the Tamil films of the 1940s and 1950s provide interesting theoretical and analytical challenges if one seeks to combine the Deleuzian notions of ‘movement-image’ with the notions of material rhetorics. The coming together of these notions provides new pointers to the understanding of an important phase in the history of Tamil cinema for its implications on the long-running nexus between politics and films in the state of Tamil Nadu. The Deleuzian trajectory in film philosophy provides more than enough pointers to examine early Tamil cinema's attempts to construct ‘movement-images’ through rhetorical bodies. This paper seeks to examine the contexts of ‘movement-images’ and the role of ‘rhetorical bodies’ in constructing the same in Velaikari, scripted by C. N. Annadurai. Popularly known as Aringnar Anna, C. N. Annadurai was the former Chief Minister of Tamil Nadu and the Founder of DMK, the party which unseated Congress from power in Tamil Nadu in 1967, and the state remains out of reach of the national parties ever since. (shrink)

이미지에 관한 사유의 바탕에는 모종의 불안이 있다. 우리가 보고 듣는 모든 것들이 한낱 거짓된 가상(假象)에 지나지 않을지도 모른다는 이 뿌리 깊은 불안의 가장 오래된 모습을 우리는 『국가』 제7권에 남겨진 플라톤의 동굴의 비유(Plato’s cave)에서 발견할 수 있다. 어두운 동굴의 빈 벽에 어른거리는 그림자들은 ‘이미지란 무엇인가’라는 물음에 대해 주어진 최초의 답변이자, 우리가 감각하는 모든 것들이 한낱 가상에 지나지 않을지도 모른다는 불안을 내포하는 표상이었다. 사르트르와 들뢰즈의 이미지 이론은 플라톤적인 방식으로 규정된 이미지의 개념을 전복시키려는 서로 다른 두 시도이다. 사르트르는 이미지를 원본에 대한 열등한 모사물로서 (...) 간주했던 것이 전통 철학의 중대한 착오이며, 이미지라는 매개를 거쳐 대상과 맞닿는다는 선입견 속에서 대상을 직접적으로 지향하는 의식의 능동적이며 자발적인 힘이 망각되어 온 것이라 주장한다. 사르트르가 이미지를 ‘비실재의 방식으로 대상을 겨냥하는 의식의 힘’으로 규정함으로써 의식의 자발성을 근본의 자리에 놓으려 한다면, 들뢰즈의 비판은 이미지의 기원으로서의 무시간적인 본질, 곧 운동·변화와 무관한 고정적 실체로서의 플라톤적 이데아의 관념을 겨냥한다. 들뢰즈에게 있어 이 부동의 벽화들은 공간의 용어로 사고하고 말하는 습관으로부터 만들어진 것에 불과한 것으로, 우리가 살아가는 세계에 실재하는 운동·변화를 잃어버린 ‘움직이지 않는’ 단면이다. 이처럼 사르트르와 들뢰즈의 이미지 이론은 모두 플라톤 이래 우리가 망각해왔던 어떤 활동적인 역량을, 역동성을 되찾고자 한다. 그럼에도 불구하고 사르트르가 모든 사물적·즉자적인 것들과 구분되는 의식의 차원에 머무른다면, 들뢰즈는 바로 그와 같은 즉자-대자적인 이원적 구도를 결과로서 산출해내는, 잠재적인 힘의 차원이라는 또 다른 지평으로 나아간다. (shrink)

Most research on image schema examined the meaning configuration of words connotation. However, previous studies of adjectives are meaningful in cognitive linguistics because they provide insight into how those adjectives are involved with psychological movement. In this sense, from the perspective of cognitive linguistics, one’s conceptualization and cognition are closely associated with their bodily experience and surroundings; adjectives are no exception. The varieties of transformations of image schemas lay the foundation for the conception and perception. Accordingly, this study is (...) an investigation into the perception of adjectives and psychological activities associated with image schema. Data in this study come from adjectives in the novel The Great Gatsby, which were tagged and calculated with the help of software Python and the NLTK package. The results demonstrate that a significant amount of adjectives were used in the novel. Moreover, Nick’s psychological activities changed significantly from the SOURCE to the DESTINATION schematic stage, which is uncovered by his expression of adjectives. Finally, the results further suggest that transformations of image schema as BALANCE, CONTAINER, and PATH work together to motivate one’s linguistic expression of adjectives. The present findings have several implications for research on lexicons and literacy interpretation from cognitive linguistics. (shrink)

In his temporal philosophy based on the writing of Henri Bergson, Gilles Deleuze describes duration ( durée ) as a becoming that endures in time. Reifications of this complex philosophical concept become artistically expressed, I argue, in the form and content of South African artist William Kentridge's series of 'charcoal drawings for projection.' These exhibited art works provide intriguing and illuminating 'philosophical' examples of animated audio-visual media, which expressively plicate distinct images of movement and time. The composition of (...) Kentridge's films at once illuminate a regime of animated 'movement-images' that can trace their aetiological roots to classical forms of film and animation, whilst concurrently folding in complex philosophical expressions of time as duration which invoke the crystalline 'time-image' concepts of philosophers such as Bergson and Deleuze, as well as literary authors like Marcel Proust. Over and above these co-existent regimes of movement and time, Kentridge's artistic technique and exhibition practices further expose a multifarious 'geology' of other embedded time lines that serve to enrich/complicate these temporal expressions. I argue here that diegetic time- and movement-images ostensibly co-exist alongside different 'archaeologies' of time relevant to the context and creation of the artworks. For this reason, the animated drawings formulate intriguing artistic/philosophical expressions that muse on the nature of matter, memory, time and space. (shrink)

We think of consciousness as a thing. Observation of our experience indicates that we are actually consciousing, and that experiencing is closely related to movement and the muscular sense. The position of this paper is that mind and body are not two entities related to each other but an inseparable whole while functioning. From concrete examples from the Feldenkrais Method, it is shown that changes in the organization of movement and functioning are intimately related and that one cannot (...) change without conscious experience. Implications for the resolution of controversies in the field of consciousness studies and the neurosciences are suggested. (shrink)

The recent cycle of social struggles against precarity in Italy has been characterized by an extensive use of images representing precarious workers. This contribution explores this in the case of the Euro Mayday Parade (EMP) protest campaign. The subversion of existing popular culture traditions was the main objective of the activists’ newly created icons such as San Precario, Serpica Naro and other visual tools. The visual work on gender in the EMP seemed to fill a gap between theoretical work (...) on the feminization of affective and immaterial labour and the less predominant presence of gender. Visual icons seem to have been at least as successful as text messages in publicizing the precarity discourse and their production deserves further attention. (shrink)

In this paper, as an example, describes the dynamic Chinese philosophical texts and images intertwined with language movement. First proposed interpretation of the text should follow the sequence of "internal context", "coherence agreement" "minimal changes" and "Maximum read the" principle of reciprocity, and attention to text features of Chinese philosophy, focusing on "metaphor" and "narrative" to express "image - View of Concept "and the contemplative, artistic, moral and historical experience all undivided. Text in the pragmatics of the dynamic (...) development process, In order to express the dynamic context of what I call doctrine, and to show images and narrative, the establishment of Chinese philosophy based on "image - View of Concept" thinking, the two are integrated in the language can be described using kinetic into . This article paragraph by paragraph analysis text and in the cause of the "image - View of Concept" or images, in order to release such I view the Chinese philosophy of hermeneutics. This paper takes Qiwulun, the second chapter of the Zhuangzi, to illustrate the pragmatic movement of text and image-ideas in Chinese Philosophy. I sustain a dynamic contextualism in the reading of Chinese philosophical texts and develop a set of general rules for interpreting them, to be followed one after another: principle of intratextuality, principle of coherence, principle of minimum amendment and principle of maximal reading. Also, there is a particular rule for respecting the special characteristic of Chinese philosophy that emphasizes the use of metaphor more than concept, narrative more than argumentation, in order to express its image-ideas rather than pure ideas. The pragmatic development of a philosophical text like Qiwulun depends on the dynamic structuration of writing and reading based on these principles of dynamic contextualism, and the movement of metaphorical images and their narrative unfolding into stories or parables is based on what I call the philosophy of image-ideas, and these two are integrated into a dynamic pragmatics. This paper will analyze section by section the Qiwulun to illustrate my hermeneutics of Chinese Philosophy. (shrink)

This paper concerns the judgement and critique of athletic movement in moving images. Inspired by the ski crash trial case of Paltrow v. Sanderson, and by comparing different media representations of downhill skiing, the essay outlines a framework that discerns as well as connects elements of movement and images, developing the concept of the ‘diorama’ in relation to Deleuze’s notion of the diagram and Kant’s idea of critique. Thus, moving images featuring elite alpine skier Mikaela (...) Shiffrin, fictional character James Bond, and an official skiing game for the international ski federation (World Cup Ski Racing, FIS) figure as comparative material to the animation that played a central role in the celebrity trial. Diorama and diagram are posited on a continuum to assess when and how judgement takes place in each of the exhibits. The essay concludes by discussing how the judging of athletic movement in moving images contributed to Paltrow winning the case, and theoretically by connecting this finding to dioramas and diagrams as tools apt for a framework aiming at the critique of athletic movement in moving images. (shrink)

Midwest Studies In Philosophy, Volume 44, Issue 1, Page 48-69, December 2019.

ArgumentThe new English term “empathy” was translated from the GermanEinfühlungin the first decade of the twentieth century by the psychologists James Ward at the University of Cambridge and Edward B. Titchener at Cornell. At Titchener's American laboratory, “empathy” was not a matter of understanding other minds, but rather a projection of imagined bodily movements and accompanying feelings into an object, a meaning that drew from its rich nineteenth-century aesthetic heritage. This rendering of “empathy” borrowed kinaesthetic meanings from German sources, but (...) extended beyond a contemplation of the beautiful to include a variety of experimental stimuli and everyday objects in the laboratory. According to Titchener's structural psychology, all higher thought could be reduced to more elemental aspects of mind, and experimental introspection showed empathy to be constituted of kinaesthetic images. The existence of kinaesthetic images, Titchener argued, formed an incisive critique of the view that thought could take place without images, held by one of Titchener's major psychological rivals, the school of thought-psychologists in Würzburg, Germany. The new term “empathy” in early American academic psychology therefore delineated a kinaesthetic imaginative projection that took place on the basis of ontological difference between minds and things. (shrink)

The fields of gender and social movements have traditionally consisted of separate literatures. Recently, however, a number of scholars have begun a fruitful exploration of the ways in which gender shapes political protest. This study adds three things to this ongoing discussion. First, the authors offer a systematic typology of the various ways in which movements are gendered and apply that typology to a wide variety of movements, including those that do not center on gender issues in any obvious way. (...) Second, the authors discuss the process by which movements become gendered. In doing so, they go beyond current scholarship by bringing “others” squarely into the gendered analysis. The article concludes by speculating about the outcomes of these processes and suggests that movements that draw on feminine stereotypes face a double bind that hampers their success. Illustrations come from movements in the United States, Europe, and Latin America. (shrink)

Examines the relationship between art and journalism in the 1930s, and discusses how intellectuals strove to be relevant during this trying time by using their own involvement in labor struggles to influence their art.

The present study examined whether cinematographic editing density affects viewers’ perception of time. As a second aim, based on embodied models that conceive time perception as strictly connected to the movement, we tested the hypothesis that the editing density of moving images also affects viewers’ eye movements and that these later mediate the effect of editing density on viewers’ temporal judgments. Seventy participants watched nine video clips edited by manipulating the number of cuts (slow‐ and fast‐paced editing against (...) a master shot, unedited condition). For each editing density, multiple video clips were created, representing three different kinds of routine actions. The participants’ eye movements were recorded while watching the video, and the participants were asked to report duration judgments and subjective passage of time judgments after watching each clip. The results showed that participants subjectively perceived that time flew more while watching fast‐paced edited videos than slow‐paced or unedited videos; by contrast, concerning duration judgments, participants overestimated the duration of fast‐paced videos compared to the master‐shot videos. Both the slow‐ and the fast‐paced editing generated shorter fixations than the master shot, and the fast‐paced editing led to shorter fixations than the slow‐paced editing. Finally, compared to the unedited condition, editing led to an overestimation of durations through increased eye mobility. These findings suggest that the editing density of moving images by increasing the number of cuts effectively altered viewers’ experience of time and add further evidence to prior research showing that performed eye movement is associated with temporal judgments. (shrink)

ObjectiveIn this study we used functional magnetic resonance imaging to investigate whether motor imagery of handwriting and circle drawing activates a similar handwriting network as writing and drawing itself.MethodsEighteen healthy right-handed participants wrote the German word “Wellen” and drew continuously circles in a sitting and lying position to capture kinematic handwriting parameters such as velocity, pressure and regularity of hand movements. Afterward, they performed the same tasks during fMRI in a MI and an executed condition.ResultsThe kinematic analysis revealed a general (...) correlation of handwriting parameters during sitting and lying except of pen pressure during drawing. Writing compared to imagined writing was accompanied by an increased activity of the ipsilateral cerebellum and the contralateral sensorimotor cortex. Executed compared to imagined drawing revealed elevated activity of a fronto–parieto-temporal network. By contrasting writing and drawing directly, executed writing induced an enhanced activation of the left somatosensory and premotor area. The comparison of the MI of these tasks revealed a higher involvement of occipital activation during imagined writing.ConclusionThe kinematic results pointed to a high comparability of writing in a vertical and horizontal position. Overall, we observed highly overlapping cortical activity except of a higher involvement of motor control areas during motor execution. The sparse difference between writing and drawing can be explained by highly automatized writing in healthy individuals. (shrink)

The structure of the deep artificial neural network is similar to the structure of the biological neural network, which can be well applied to the 3D visual image recognition of aerobics movements. A lot of results have been achieved by applying deep neural networks to the 3D visual image recognition of aerobics movements, but there are still many problems to be overcome. After analyzing the expression characteristics of the convolutional neural network model for the three-dimensional visual image characteristics of aerobics, (...) this paper builds a convolutional neural network model. The model is improved on the basis of the traditional model and unifies the process of aerobics 3D visual image segmentation, target feature extraction, and target recognition. The convolutional neural network and the deep neural network based on autoencoder are designed and applied to aerobics action 3D visual image test set for recognition and comparison. We improve the accuracy of network recognition by adjusting the configuration parameters in the network model. The experimental results show that compared with other simple models, the model based on the improved AdaBoost algorithm can improve the final result significantly when the accuracy of each model is average. Therefore, the method can improve the recognition accuracy when multiple neural network models with general accuracy are obtained, thereby avoiding the complicated parameter adjustment process to obtain a single optimal network model. (shrink)

Developing work in the theories of action and explanation, Eldridge argues that moral and political philosophers require accounts of what is historically possible, while historians require rough philosophical understandings of ideals that merit reasonable endorsement. Both Immanuel Kant and Walter Benjamin recognize this fact. Each sees a special place for religious consciousness and critical practice in the articulation and revision of ideals that are to have cultural effect, but they differ sharply in the forms of religious-philosophical understanding, cultural criticism, and (...) political practice that they favor. Kant defends a liberal, reformist, Protestant stance, emphasizing the importance of liberty, individual rights, and democratic institutions. His fullest picture of movement toward a moral culture appears in Religion within the Bounds of Mere Reason, where he describes conjecturally the emergence of an ethical commonwealth.Benjamin defends a politics of improvisatory alertness and consciousness-raising that is suspicious of progress and liberal reform. He practices a form of modernist, materialist criticism that is strongly rooted in his encounters with Kant, Hölderlin, and Goethe. His fullest, finished picture of this critical practice appears in One-Way Street, where he traces the continuing force of unsatisfied desires.By drawing on both Kant and Benjamin, Eldridge hopes to avoid both moralism and waywardness. And in doing so, he seeks to make better sense of the commitment-forming, commitment-revising, anxious, reflective and sometimes grownup acculturated human subjects we are. (shrink)

With _Relationscapes_, Erin Manning offers a new philosophy of movement challenging the idea that movement is simple displacement in space, knowable only in terms of the actual. Exploring the relation between sensation and thought through the prisms of dance, cinema, art, and new media, Manning argues for the intensity of movement. From this idea of intensity--the incipiency at the heart of movement--Manning develops the concept of preacceleration, which makes palpable how movement creates relational intervals out (...) of which displacements take form. Discussing her theory of incipient movement in terms of dance and relational movement, Manning describes choreographic practices that work to develop with a body in movement rather than simply stabilizing that body into patterns of displacement. She examines the movement-images of Leni Riefenstahl, Étienne-Jules Marey, and Norman McLaren, and explores the dot-paintings of contemporary Australian Aboriginal artists. Turning to language, Manning proposes a theory of prearticulation claiming that language's affective force depends on a concept of thought in motion. _Relationscapes_ takes a "Whiteheadian perspective," recognizing Whitehead's importance and his influence on process philosophers of the late twentieth century--Deleuze and Guattari in particular. It will be of special interest to scholars in new media, philosophy, dance studies, film theory, and art history. (shrink)

Images That Move is concerned with how images take place in wider worlds: how they move around, via processes of transmission and uptake, but, equally importantly, how they move their audiences affectively. Images play a significant part in projects of "poetic world-making" and political transformation. They participate in the production of commensuration or of incommensurability, enact moments of prophecy or exposure, and attract or repel spectators' attention. Images move, then, but not just as they wish, and (...) any examination of images in motion must also recognise the blockages and breakdowns that prevent their movement as well as the enframings or "stickinesses" that trap them in particular places, prevent them from reaching others, or hedge their arrival in specific ways. The contributors explore topics ranging from high art to mass media, religious iconography to pornography, and popular photography to political cartoons in a range of contexts and media including photography in early twentieth century China, art and literature in contemporary South Africa, upscale real estate development in India, occult media images and the aesthetic of appearance in urban Indonesia, and film censorship in Nigeria. All of these instances of the visual continuum require different ways of highlighting and addressing the problematics of images in motion. Images That Move traces some of the tangled paths of images' travels and returns, unfolding their effects and aftereffects and scanning the diverse and variable publics-fixed or ephemeral, situated or dispersed-that these moving images call into being. Contributors: Ernst van Alphen, Christiane Brosius, Steven C. Caton, Finbarr Barry Flood, Brian Larkin, Oliver Moore, Rosalind C. Morris, Christopher Pinney, Patricia Spyer, Mary Margaret Steedly. (shrink)

This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A general theory of (...) pictorial representation is presented, which insists on the realism of pictures and the impossibility of assimilating them to language. It criticizes attempts to explain the psychology of film viewing in terms of the viewer's imaginary occupation of a position within the world of film. On the contrary, film viewing is nearly always impersonal. (shrink)

Popular Indian cinema provides a test case for examining the limitations of Gilles Deleuze's categories of movement-image and time-image. Due to the context-specific aesthetic and cultural traditions that inform popular Indian cinema, although it appears at times to be both movement- and time-image, it actually creates a different type of image. Analysis of Toofani Tarzan (1936) and Dilwale Dulhania Le Jayenge (1995) demonstrates how, alternating between a movement of world typical of the time-image, and a sensory-motor (...) class='Hi'>movement of character typical of the movement-image, popular Indian cinema explores the potential fluxing of identities that emerge during moments of historical complexity. (shrink)

In a majority of situations the normal adult maintains posture or moves without consciously monitoring motor activity. Posture and movement are usually close to automatic; they tend to take care of themselves, outside of attentive regard. One's body, in such cases, effaces itself as one is geared into a particular intentional goal. This effacement is possible because of the normal functioning of a body schema. Body schema can be defined as a system of preconscious, subpersonal processes that play a (...) dynamic role in governing posture and movement (Head, 1920). There is an important and often overlooked conceptual difference between the subpersonal body schema and what is usually called body image . The latter is most often defined as a conscious idea or mental representation that one has of one's own body (for example, Adame, Radell, Johnson, and Cole, 1991; Gardner and Moncrieff, 1988; Schilder, 1935). Despite the conceptual difference many researchers use the terms interchangeably, leading to both a terminological and conceptual confusion. (shrink)

Animating Maurice Merleau-Ponty’s phenomenological idea of the body as a pre-reflective organizing principle in perception, consciousness and language has become a productive and popular endeavor within philosophy of mind during the last two decades. In this context Merleau-Ponty’s descriptions of an embodied mind has played a central role in the attempts to naturalize phenomenological insights in relation to cognitive science and neuropsychological research. In this dialogue the central role of art and aesthetics in phenomenology has been neglected or at best (...) treated as a peripheral phenomenon. In this article I argue that the failure to place art and aesthetics at the center of thought within phenomenology leads to a neglect of the expressive primacy of the body in movement. In the current naturalization of phenomenology the questions related to expressive movement are often consigned to the notions of motor intentionality or gesture. However, in his book How the Body Shapes the Mind the philosopher Shaun Gallagher interestingly concludes, based on experimental results, that bodily movements of gesture cannot be accounted for by the phenomenologically adapted notions of ‘body image’ and ‘body schema’. Symptomatically, Gallagher ends his chapter on bodily gesture with a section title asking the relevant question that remains unanswered within a phenomenology of mind: Expressive movement from the beginning? The search for an answer to this question points, in my view, to the possibility of a more radical understanding of the embodied mind based on the primacy of expressive experimentation rather than representational experience, which makes the question of art and aesthetics a core issue. Following the image of thought in the philosophy of Gilles Deleuze I argue that art, as the production of sensation through experimentation, presents us with a mode of thinking that accounts for expressive bodily movement as a constitutive force in subjective thought and experience. (shrink)

Deleuze's philosophy of cinema departs from the standard conception of modernist aesthetics that sees art withdrawing from representation in order to reflect upon the specificity of its medium. While ambitious and influential, Deleuze's attempt fails. Overdetermined by its own metaphysics, it forsakes the real importance of the movies. It is unable to explain how they function and why they matter. This essay pursues three lines of criticism: Deleuze cannot account for the aesthetic specificity of cinema because he deposes the primacy (...) of action in the movement-image in favour of the primacy of belief. This failure is connected to the fact that a cinema of the virtual depends on the very Bazinian realism it is meant to displace. Realism must be acknowledged as the cinematic condition and truth of virtuality. Further, Bazinian realism is the cinematic form of philosophical modernism, preferable for many reasons to Deleuze's philosophy, which returns to pre-modern cosmology in its desire to escape the agent-based, anti-metaphysical commitments of modernism. I apply these criticisms to my analysis of Resnais's Hiroshima mon amour, a movie that prima facie looks made to fulfil the terms of Deleuze's theory but which I argue is an object lesson in realism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ImagesAntoni Muntadas (bio)The seven images in this issue are from Gestes, a book by Antoni Muntadas and published by Bookstorming (2003). The complete set of fifty-two portraits were collected from media images of various political figures during the Iraq War. Muntadas emphasizes the gestural movement of the hands, creating a strange and hypnotic choreography.Antoni Muntadas — born in Barcelona, Spain, in 1942 — has lived and (...) worked in New York since 1971.His work addresses social, political, and communications issues, the relationship between public and private space within social frameworks, and investigations of channels of information and the ways they may be used to censor central information or promulgate ideas. He works in various media: photography, video, publications, internet, and multi-media installations.He studied at the Escuela Tecnica Superior de Ingenieros Industriales in Barcelona and the Pratt Graphic Center in New York. He has taught and directed seminars at the University of California in San Diego, the École des Beaux Arts in Bordeaux and Grenoble, the CAVS at the Massachusetts Institute of Technology, the San Francisco Art Institute, the École Nationale des Beaux Arts in Paris, the University of São Paulo in Brazil, Cooper Union in New York, and many other institutions.Muntadas has received several prizes and grants including those of the Guggenheim Foundation, the Rockefeller foundation, the National Endowment for the Arts, the New York State Council on the Arts, Arts Electronica in Linz/Austria, Laser d'Or in Locarno, Switzerland, and the Premi Nacional d'Arts Plastiques de la Generalitat de Catalunya.He created works commissioned by the Centre Nacionale des Arts Plastiques in Paris, the Fonds d'Arts Publiques in Marseille, the Public Art Fund in New York, and has been resident artist and consulting advisor in several research and education centers, including the Visual Studies Workshop in Rochester, the Banff Center in Canada, Arteleku in San Sebastian, Spain, and the University of Western Sydney in Australia.His works have been exhibited throughout the world, including the Venice Biennale, Documenta Vl and X in Kassel, the São Paulo Biennal, la Biennale de Lyon et La Havana and The Museum of Modern Art in New York, the Berkeley Art Museum in California, the Wexner Arts Center in Columbus, Ohio, le Musée d'Art Contemporain de Montreal, le CAPC de Bordeaux, France, the Museu de Arte Moderna de Rio de Janeiro in Brazil, the Ludwig Museum in Budapest, Hungary, and the Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain. Click for larger view View full resolutionFigure 1.(Cover) Click for larger view View full resolutionFigure 2.(Page 2) Click for larger view View full resolutionFigure 3.(Page 10) Click for larger view View full resolutionFigure 4.(Page 31) Click for larger view View full resolutionFigure 5.(Page 52) Click for larger view View full resolutionFigure 6.(Page 74) Click for larger view View full resolutionFigure 7.(Page 95)Antoni Muntadas Antoni Muntadas —born in Barcelona, Spain, in 1942 —has lived and worked in New York since 1971.Copyright © 2003 The Johns Hopkins University Press... (shrink)

There are complex posture changes in dance movements, which lead to the low accuracy of dance movement recognition. And none of the current motion recognition uses the dancer’s attributes. The attribute feature of dancer is the important high-level semantic information in the action recognition. Therefore, a dance movement recognition algorithm based on feature expression and attribute mining is designed to learn the complicated and changeable dancer movements. Firstly, the original image information is compressed by the time-domain fusion module, (...) and the information of action and attitude can be expressed completely. Then, a two-way feature extraction network is designed, which extracts the details of the actions along the way and takes the sequence image as the input of the network. Then, in order to enhance the expression ability of attribute features, a multibranch spatial channel attention integration module based on an attention mechanism is designed to extract the features of each attribute. Finally, using the semantic inference and information transfer function of the graph convolution network, the relationship between attribute features and dancer features can be mined and deduced, and more expressive action features can be obtained; thus, high-performance dance motion recognition is realized. The test and analysis results on the data set show that the algorithm can recognize the dance movement and improve the accuracy of the dance movement recognition effectively, thus realizing the movement correction function of the dancer. (shrink)

Preface to the English Edition \ Translator's Introduction \1. Beyond the Movement-Image \ 2. Recapitulation of Images and Signs \ 3. From Recollections to Dreams: Third Commentary on Bergson \ 4. The Crystals of Time\ 5. Peaks of Present and Sheets of Past: Fourth Commentary on Bergson \ 6. The Powers of the False \ 7. Thought and Cinema \ 8. Cinema, Body and Brain,Thought \ 9. The Components of the Image \ 10. Conclusions \ Notes \ Glossary (...) \Index. (shrink)

Deleuze explica el cine a partir de dos nociones claves: imagen-movimiento e imagen-tiempo. Con las dos, quiere a grosso modo explicar el cine hasta la Segunda Guerra Mundial como un cine que se concentra en acción y movimiento, a diferencia del cine de Posguerra, que se ha vuelto reflexivo y pivilegia la presencia del tiempo. Deleuze afirma que ha tomado ambos conceptos de Bergson, y especialmente de su obra Materia y memoria. Este artículo explicará brevemente algunos rasgos fundamentales de estas (...) nociones en Deleuze, después abordará a Bergson para ver en qué sentido él era creador de estas nociones y, finalmente, regresará a Deleuze para precisar las nociones en cuestión y sus alcances en la explicación del cine. (shrink)

Is there a dominant global image—call it a world picture—that links the Occupy movement to the Arab Spring? Or is there any single image that captures and perhaps even motivated the widely noticed synergy and infectious mimicry between Tahrir Square and Zuccotti Park?