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Habitus in Habitat II

Other Sides of Cognition

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Edited By Sabine Flach and Jan Söffner

Which are the aspects of cognition not yet focused on as such by brain research? How can one deal with them?
This book sheds light on the other sides of cognition, on what they mean for forms and figurations of subjective, cultural and social understanding. In examining nuances, exceptions, changes, emotions and absence of emotions, automatized actions and meaningful relations, states of minds and states of bodies, the volume searches new approaches to these phenomena in discussing the relation between the habitus – the habits and behavioral attitudes involved in cognition – and its embeddedness in a habitat. By opening a dialogue between artistic knowledge and the sciences, Other Sides of Cognition investigates novel avenues and concepts within science and research.
At a Berlin-based conference: Other Sides of Cognition, scholars gathered from various disciplines to discuss these issues. This book broadens perspectives on the interdisciplinary field encompassing perception, action and epistemic formations. It offers a new view on the related field of habitus and cognition.

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Control and its Limits

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“The Limits of Control” Understanding Cinema Beyond Signs and Meaning FABIENNE LIPTAY In the history of philosophical aesthetics the senses have only very gradually received recognition.1 The effort to re-evaluate the senses, which were and are still often considered to be inferior to the mind, continues to the present day. Recent studies in the fields of philosophy, art history, literature, and film have put forward strong arguments in favour of a sensuous and bodily experience of aesthetic phenomena, drawing our attention to certain aspects of art which mean- ing cannot convey.2 Growing interest in the sheer materiality and presence of art works, in their contribution to or subversion of meaning, has fundamentally called dominant modes of interpretation into question. Literature, painting, and cinema are no longer exclusively conceptualised in terms of signs and meaning.3 Subsequent to the earlier materialist conceptions of cinema, such as those of Ser- gej Eisenstein, Walter Benjamin and Siegfried Kracauer, a number of contempo- rary film scholars have focused on bodily responses to film, e.g. Tom Gunning, Christian Mikunda, Steven Shaviro, Laura Marks, Linda Williams, and Vivian Sobchack. This theoretical move to “the other sides of cognition” may be consi- dered as a paradigm shift not only confined within film studies.4 It corresponds to an epistemological turn in cognitive science: the questioning of computational and representational models of cognition through theories of the embodied mind.5 Rather than aiming at another attempt to approach the mind-body problem with general assumptions, I consider a dynamic relation between the...

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