The central claim of Minds in Motion is that British travel writing of the long eighteenth century functions as an epistemological playing field where authors test empiricist models of engagement with the world while simultaneously seeking out the role of the self and the imagination in producing knowledge. Whether exploring the relationship between the senses and the mind, the narrative viability of experimental detachment, or the literary dynamics of virtual witnessing, eighteenth-century travel authors persistently confront their positionality and raise difficult questions about the nature and value of first-hand experience. In one way or another, they also complicate empiricist ideals by exploring the limits of individual perception and the role of the imagination in generating and relating knowledge. While the genre is often viewed as either numbingly documentary or non-literary and commercial, travel literature actually operates at the front line of the period’s intellectual developments, illustrating both how individual writers grapple with philosophical ideals and how these ideals filter into the lives of ordinary people. Indeed, travel literature directly engages the scientific and philosophical concerns of the period, while it is also widely, avidly read; as such, it offers models for cognitive and rhetorical practices that are evaluated and either embraced or rejected by readers (in a process of identification not unlike that which occurs in early English fiction). Moreover, because eighteenth-century travel literature is so crucial to the development of so many fields—from botany to the novel—it illustrates vividly the divisive energies of discipline and genre formation while also archiving the shared aims and methods of what will become discrete fields of study. Travelogues as diverse as Margaret Cavendish’s Blazing World (1666) and Samuel Johnson’s Journey to the Western Islands of Scotland (1775) reveal the epistemological circuitry of the eighteenth century and historicize the absorption of the philosophical tendencies that have come to define modernity.

An eminent psychologist offers a major new theory of human cognition: movement, not language, is the foundation of thought When we try to think about how we think, we can't help but think of words. Indeed, some have called language the stuff of thought. But pictures are remembered far better than words, and describing faces, scenes, and events defies words. Anytime you take a shortcut or play chess or basketball or rearrange your furniture in your mind, you've done something remarkable: abstract thinking without words. In Mind in Motion, psychologist Barbara Tversky shows that spatial cognition isn't just a peripheral aspect of thought, but its very foundation, enabling us to draw meaning from our bodies and their actions in the world. Our actions in real space get turned into mental actions on thought, often spouting spontaneously from our bodies as gestures. Spatial thinking underlies creating and using maps, assembling furniture, devising football strategies, designing airports, understanding the flow of people, traffic, water, and ideas. Spatial thinking even underlies the structure and meaning of language: why we say we push ideas forward or tear them apart, why we're feeling up or have grown far apart. Like Thinking, Fast and Slow before it, Mind in Motion gives us a new way to think about how--and where--thinking takes place.

The first comprehensive presentation of the dynamical approach to cognition. It contains a representative sampling of original, current research on topics such as perception, motor control, speech and language, decision making, and development.

Western contemporary dance and body-mind education have engaged in a pas de deux for more than four decades. The rich interchange of somatics and dance has altered both fields, but scholarship that substantiates these ideas through the findings of twentieth-century scientific advances has been missing. This book fills that gap and brings to light contemporary discoveries of neuroscience and somatic education as they relate to dance. Drawing from the burgeoning field of “embodiment”—itself an idea at the intersection of the sciences, humanities, arts, and technologies—Body and Mind in Motion highlights the relevance of somatic education within dance education, dance science, and body-mind studies.

A retrospective on the life and work of the gifted sculptor, Charles H. Forrester (1928-2010), reveals a man whose mind was in constant motion. His artwork spans six decades and is lavishly illustrated with commentary from art historians and contemporary artists. A Mind in Motion: The Art of Charles H. Forrester offers an in-depth guide into the mind and artistic legacy of the artist. Curated by his daughter, Winifred, the book vividly presents more than eighty stunning images organized by ten distinct categories and five creative series of his most significant artwork. This richly visual coffee table book will appeal to art lovers everywhere. Forrester was the master of the visual pun and comes to life through his legacy — sculptures, paintings and drawings, and journals. He was especially adept at working with the human figure, creating abstract figurative forms in materials ranging from welded steel to laminated-plywood. His engineering prowess was reflected in his kinetic sphere sculptures and wire suspension works. He captured startlingly realistic details, yet his works are highly stylized – often twisted into sly visual puzzles and riddles. The artist’s large concrete outdoor sculptures across the United States and England are among his most well-known works, but he also created many smaller sculptures cast in bronze and aluminum. With roots in New York and the Pacific Northwest, and as a teacher for thirty years in England and Kentucky, Forrester’s work directly impacted generations of sculptors and artists. His frequent sabbaticals and residencies in Europe, the Middle East and the Americas provided him inspiration for his life-long creativity. In 1998, Forrester and his wife, Dorothy, moved to East Nashville, where he maintained a studio up until his death in 2010. The late artist’s sculptures have been exhibited nationwide, receiving numerous awards. Some of Forrester’s more notable public artwork was commissioned by the Chamber of Commerce, Springfield, Oregon; Medford, Oregon public parks; Shakespeare Memorial Theater in Ashland, Oregon; the Bundy Art Museum, Waitsfield, Vermont; Broughton High School, Salford, England; Bowling Green-Warren County, Kentucky Hospital; and Northern Telecom, Nashville, Tennessee Additional contributors to the book are: John Forrester, son of Charles Forrester, Rome, Italy; Russ Faxon, sculptor, Bell Buckle, TN; Caroline Phillips, Jordan Schnitzer Museum of Art, University of Oregon; Sam Hunt, Adjunct Professor of Art, Western Kentucky University.

Mind, Body, Motion, Matter investigates the relationship between the eighteenth century's two predominant approaches to the natural world - mechanistic materialism and vitalism - in the works of leading British and French writers such as Daniel Defoe, William Hogarth, Laurence Sterne, the third Earl of Shaftesbury and Denis Diderot. Focusing on embodied experience and the materialization of thought in poetry, novels, art, and religion, the literary scholars in this collection offer new and intriguing readings of these canonical authors. Informed by contemporary currents such as new materialism, cognitive studies, media theory, and post-secularism, their essays demonstrate the volatility of the core ideas opened up by materialism and the possibilities of an aesthetic vitalism of form.

Losing Us: A Dementia Caregiver’s Journey, is a candid, compassionate and sometimes humorous memoir of Author Rosella Leslie’s heartbreaking struggles and triumphs during her twelve years as her husband’s primary caregiver. It is also an informal guide to dementia caregiving, including links to helpful resources for caregivers, their friends, families and communities. The poems that begin and end each chapter capture the frustration and sorrow of her husband’s ever-shifting cognitive abilities and the emotional rollercoaster Leslie rides, rising to heights of acceptance, joy and resolve, then plunging to valleys of guilt, doubt and despair. She urges caregivers to accept dark thoughts and harsh feelings as a natural response to being in an impossible situation, and to keep putting one foot in front of the other as they move toward the faint light of hope that shines at the end of this very dark tunnel.

More than at any other time in human history, we live in an age defined by movement and mobility; and yet, we lack a unifying theory which takes this seriously as a starting point for philosophy. The history of philosophy has systematically explained movement as derived from something else that does not move: space, eternity, force, and time. Why, when movement has always been central to human societies, did a philosophy based on movement never take hold? This book finally overturns this long-standing metaphysical tradition by placing movement at the heart of philosophy. In doing so, Being and Motion provides a completely new understanding of the most fundamental categories of ontology from a movement-oriented perspective: quality, quantity, relation, modality, and others. It also provides the first history of the philosophy of motion, from early prehistoric mythologies up to contemporary ontologies. Through its systematic ontology of movement, Being and Motion provides a path-breaking historical ontology of our present.

A singular collection of original essays exploring the varied intersections of motion pictures and public value A Companion to Motion Pictures and Public Value presents a cross-disciplinary investigation of the past, present, and possible future contributions of the moving image to the public good. This unique volume explores the direct and indirect public value developed through motion pictures of different types, genres, and screening sites. Essays by world-renowned scholars from diverse disciplines present original conceptual work, philosophical arguments, historical discussion, empirical research, and specific case studies. Divided into seven thematically organized sections, the Companion identifies the various kinds of values that motion pictures can deliver, amongst them artistic, ethical, environmental, cultural, political, cognitive, and spiritual value. Each section includes an introduction in which the editors outline main themes and highlight connections between individual chapters. Throughout the text, probing essays interrogate the issue of public value as it relates to the cinema and provide insight into how motion pictures play a positive role in human life and society. Featuring original research essays on a pioneering topic, this innovative reference text: Brings together work by expert authors in disciplines such as Philosophy, Political Science, Cultural Studies, Film Studies, Sociology, and Environmental Studies Discusses a variety of institutional landscapes, policy formations, and types and styles of filmmaking Provides wide and inclusive coverage of cinema’s relation to public value in Africa, Asia, China, Europe, the Middle East, and the Americas Explores the role of motion pictures in community formation, nation building, and the construction of good societies Covers new and emerging topics such as cinema-based fields focused on health and wellbeing A Companion to Motion Pictures and Public Value is an ideal textbook for advanced undergraduate and graduate courses in Film, Media, and Cultural Studies, and is a valuable resource for scholars across a variety of disciplines

Psychoanalytic Method in Motion identifies and examines varied controversies about how psychoanalysts believe treatment should best be conducted. Irrespective of their particular school of thought, every analyst builds up a repertoire of his favored ways of working, which some analysts come to see as the most efficacious approach to treatment available. While such differences of opinion are unsettling, and may even threaten to tear the field asunder, this book sees these differences as benefitting psychoanalysis by improving the ways in which psychoanalysts and psychoanalytic psychotherapists practice. In this book, Richard Tuch covers the waterfront by examining controversies that further the field by raising questions that help evolve the treatment, challenging every analyst to re-think what they are doing in the consulting room...and why. Some of the chief controversies explored include: the enactment debate—unparalleled tool or regrettable error? whether analysts can truly be "objective"—whatever that means the advantages and disadvantages arising from the analyst’s use of authority the ways in which theory influences the analyst’s search for data—blinding him to evidence he implicitly discards as irrelevant whether any given treatment approach is more efficacious than others, as some analysts claim the legitimacy of psychoanalysis itself—whether it can truly be considered scientific whether certain methods of supervision are more effective than others whether free association can be considered therapeutic in and of itself the extent to which an analyst preferred clinical theory is a product of his personality Drawing on ideas from a range of different analytic perspectives, this book is an essential and accessibly written guide to working towards best practice in the analytic setting. Psychoanalytic Method in Motion will appeal greatly to both students and practitioners of psychoanalysis and psychoanalytic psychotherapy.