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Affective and dynamic functions --- Physiology of nerves and sense organs --- Brain --- Space perception --- Vision --- Visual perception --- Space Perception --- Visual Perception --- Congresses. --- Physiological aspects --- physiology --- congresses. --- Physiology

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Dans une volonté renouvelée d'appréhender l'iconographie de l'Antiquité, principalement celle de l'Orient ancien, ces études abordent la représentation de l'espace, qui ne peut se concevoir sans l'intervention du corps comme intermédiaire de la perception.

Body image --- Space perception --- Art, Ancient --- Image du corps --- Perception spatiale --- Art antique --- Congresses --- Congrès --- Congrès --- Congresses.

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Cet essai propose un cheminement qui se déroule au fil des jours (du 22 février 2005 au 20 juin 2007). L’auteur prend le temps d’écrire et celui de vivre l’espace. Il en résulte ce qu’il ose appeler, à l’instar de Kenneth White ou de Gilles Deleuze, une pensée du dehors, nomade. Et c’est bien dehors, à travers les villes et les régions qu’il parcourt, que Jean-François Pirson nous entraîne pour ouvrir notre regard sur l’espace du corps, les territoires et ses limites, le paysage, dans leurs relations à la terre, considérée comme l’étendue de notre humanité. Bien que solitaire, l’auteur n’est jamais seul dans le monde et les jours qui le font. Il convie dans son texte des événements (la mort de son père, la pleine lune, un mail de sa compagne, le projet d’un étudiant…) et des personnes (Francesco Careri, Michel de Certeau, Francis Alÿs, Catherine Grout, Lou, Véronique Nahoum-Grappe…) qui engagent leur vision singulière dans l’espace. Ainsi, Entre le monde et soi s’adresse à tous ceux qui questionnent l’espace que chacun déploie en regard de sa naissance sur une terre habitée. Car, si dans cette déambulation se croisent, pratiques personnelles, prolongements pédagogiques et affinités sélectives, une grande place est laissée au lecteur pour qu’il y entrelace son rythme et son espace.

Space (Art) --- Art, Modern --- Space perception. --- Espace (Art) --- Art --- Perception spatiale --- Espace (art) --- Perception de l'espace --- Ecrit d'artiste --- perception de l'espace --- Perception spatiale.

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Colloques --- Colloquia --- Neurologie --- Psychologie --- Perception --- Visual Perception --- Space Perception --- Auditory Perception --- Visual perception --- Auditory perception --- Attention --- Brain --- Visual agnosia --- Perception visuelle --- Perception auditive --- Cerveau --- Agnosie visuelle --- Imaging --- Imagerie --- Agnosticism --- waarneming --- agnosie --- neuropsychologie --- cognitieve psychologie --- neurobiologie --- Supraliminal perception --- Cognition --- Apperception --- Senses and sensation --- Thought and thinking --- Atheism --- Belief and doubt --- Faith --- Free thought --- Skepticism --- Perception. --- Visual Perception. --- Space Perception. --- Auditory Perception. --- Perception - Congresses --- Agnosticism - Congresses

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Perspective has been a divided subject, orphaned among various disciplines from philosophy to gardening. In the first book to bring together recent thinking on perspective from such fields as art history, literary theory, aesthetics, psychology, and the history of mathematics, James Elkins leads us to a new understanding of how we talk about pictures. Elkins provides an abundantly illustrated history of the theory and practice of perspective. Looking at key texts from the Renaissance to the present, he traces a fundamental historical change that took place in the way in which perspective was conceptualized; first a technique for constructing pictures, it slowly became a metaphor for subjectivity. That gradual transformation, he observes, has led to the rifts that today separate those who understand perspective as a historical or formal property of pictures from those who see it as a linguistic, cognitive, or epistemological metaphor. Elkins considers how the principal concepts of perspective have been rewritten in work by Erwin Panofsky, Hubert Damisch, Martin Jay, Paul Ricoeur, Jacques Lacan, Maurice Merleau-Ponty, and E. H. Gombrich. The Poetics of Perspective illustrates that perspective is an unusual kind of subject: it exists as a coherent idea, but no one discipline offers an adequate exposition of it. Rather than presenting perspective as a resonant metaphor for subjectivity, a painter's tool without meaning, a disused historical practice, or a model for vision and representation, Elkins proposes a comprehensive revaluation. The perspective he describes is at once a series of specific pictorial decisions and a powerful figure for our knowledge of the world.

Aesthetics. --- Perspective. --- Space perception. --- Espace--Perception --- Ruimteperceptie --- Ruimtewaarneming --- Spatial perception --- Geometry --- Aesthetics --- Space perception --- Perspective --- Esthétique --- Perception spatiale --- CDL --- 742 --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Perception --- Spatial behavior --- Figure-ground perception --- Geographical perception --- Architectural perspective --- Linear perspective --- Mechanical perspective --- Optics --- Space (Art) --- Projection --- Proportion (Art) --- Shades and shadows --- Psychology --- Radio broadcasting Aesthetics