Michael F. Zimmermann
Introduction
I. VISION IN MOTION: FRAMING AND PERSPECTIVATION
Claude Imbert
Moving
Michael F. Zimmermann
Seeing
II. ORDERS AND REGIMES OF TIME: DISCIPLINE AND POETICS
Ségolène Le Men
Vision in Locomotion. The “Train Effect” in the Visual Am, Its Anticipation in Phantasmagoria, and Its Continuation in Film
Christian Wehr
Poetic and Media-Oriented Perception in Post-Romantic Modernism. From Baudelaire to Buñuel
Tobias Teutenberg
Objects at a Distance. Karl Schnaase's
Description of the Antwerp Cathedral (1834) and the Pedagogic Conditioning of the Eye During the Nineteenth Century
Carmen Belmonte
Synchronies of Violence. Italian Colonialism and
Marinetti's Depiction of Africa in
Mafarka the Futurist
Nolwenn Mégard
From Verticality to Horizontality. Tilting the Gaze and Learning How to See
Christoph Wagner
Mapping the Eye. Laocoön and Eye Movement in Art
Laura Commare and Hanna Brinkmann
Aesthetic Echoes in the Beholder's Eye? Empirical Evidence for the Divergence of Theory and Practice in the Perception of Abstract Art
Fabienne Liptay
Capturing Motion, Shaping Time. From Chronophotography to Digital Film
III. FIGURES OF DANCE
Christian Berger
Edgar Degas's Ballet Classes. Latent Motion and the Reconfiguration of Motifs
Anja Pawel
Dancing Like Mondrian Paints. The Interaction of Dance and Abstract Art (1900–1930)
Ilaria Cicali
1913. Archipenko's Plaster Statues, or The Time of Dancing
Fabienne Brugère
Pina Bausch's Choreography. A Laboratory for Art or for Life?
Alexander Schwan
Arabesque Vision. On Perceiving Dancing as Écriture Corporelle in William Forsythe's
The Vertiginous Thrill of Exactitude
IV. PROTRACTED PRESENCE AND DURATION
Catherine Chevillot
Sculpture and Temporality. Art as Experiment under the Spell of Vitalism
Boris Roman Gibhardt
Configuring Poetic Time. Figures of Movement and Perception in Marcel Proust's
À la recherche du temps perdu
Sophie Goetzmann
“Here, everything moves; nothing is dead here.” Perpetuum Mobile and Time Control in the Work of Paul Scheerbart and Bruno Taut
Henning Schmidgen
Movement-Afterimages. Marcel Duchamp's
Anemic Cinema
Annika Schlitte
The Physicality of Here and Now. Place and Time in
Robert Smithson's Works
Meg R. Jackson
Run. The Poetic Use of the Moving Body in Contemporary Time-Based Practices
Rorlan Leitner
“Whatever I Photograph, I Always lose.” Images of Death and Configurations of Time in
Peeping Tom and
Vacancy
V. SEIZING MOTION COMPREHENDING TIME
Pia Rudolph
Printed Growth. Temporality in Sixteenth- and Seventeenth-Century Herbal Books
Olga B. Özbek
Catching a Glimpse through Time. Notes on Wolheim's Concept of the Internal Spectator
Maria Grazia Messina
The Media of In-Depth Perception. Picasso's Work in the
Dadaist Photomontages
Shindô Hisano
The Temporal Dimension in
Surrealist Paintings of the Late 1930s
Constanse Fritzsch
Carlfriedrich Claus's Speech Sheets Procedural. Manifestation of New Relationships Between Man and Woman: A Crystallization of the Exploration and Incorporation of Marxist Thought
VI. SHAPING HISTORY: TIME AND OBJECTIVITY
Hans-Jörg Rheinberger
George Kubler and the Question of Time and Temporality
Dominik Brabant
Pathos on the Run. Auguste Rodin,
Aby Warburg, and the Movement of Images
Audrey Rieber
Art as a Form of Time. Some Remarks on Artwork and History Based on Reflections from and about Erwin Panofsky
Gottfried Kerscher
Henri Focillon's
The Life of Forms, “Forms in the Realm of Time,” and George Kubler's
The Shape of Time
Karsten Heck
George Kubler's “Time-Solid.” A Visual Model of An-Historical Time
Henri Zerner
Kubler and Focillon. A History of Things as a Response to The Life of Forms
