Habitual Gestures

Mapping Intimacies ◽

10.1093/oso/9780190093884.003.0003 ◽

2021 ◽

pp. 43-73

Author(s):

Jordan Schonig

Keyword(s):

Household Activities ◽

Muscle Memory ◽

Time Image ◽

Bodily Movements ◽

The Invisible

This chapter examines “habitual gestures”—everyday bodily movements, such as walking or sitting, that are ingrained as muscle memory—as a form of motion associated with postwar realist cinema. Closely reading scenes of ordinary household activities in Umberto D (De Sica, 1952), Best Years of Our Lives (Wyler, 1946), and Mouchette (Bresson, 1967), this chapter shows how an aesthetics of habitual gestures compels one to attend to the invisible bodily movements between and within willed actions. In doing so, this motion form foregrounds the body’s nonconscious and automatic ways of moving. Reading such gestures alongside the notion of “bodily habit” in the philosophy of Maurice Merleau-Ponty, this chapter ultimately troubles Gilles Deleuze’s notion of the time-image as the dominant lens through which the postwar aesthetics of laboring bodies is understood.

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The Physicality of Music Production: Investigating the Roles of Mindful Practice and Kinesthetic Learning

Music Educators Journal ◽

10.1177/0027432119895553 ◽

2020 ◽

Vol 106 (3) ◽

pp. 23-28

Author(s):

Megan Lam

Keyword(s):

Professional Musicians ◽

Muscle Movement ◽

Music Production ◽

Kinesthetic Learning ◽

Music Making ◽

Muscle Memory ◽

Effective Use ◽

Bodily Movements ◽

A Performance

Music production and muscle movement are so interconnected that to begin the process of creating music, it is essential to consider the physicality behind the auditory perceptions. Playing-related injuries can arise from improper practice and failure to understand the physical movements underlying the music, and students and professional musicians alike can struggle with the failure of automatic muscle memory, particularly during a performance. This article outlines approaches to not only harnessing various aspects of kinesthetic learning for more effective playing but also to remaining attentive and actively in control of bodily movements during music-making. Encouraging students to maintain an awareness of their bodies and movements can be key to developing a healthier and more effective use of muscular systems in the production of music.

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Design of a Spectroscopic Low-Energy Emission Microscope

Proceedings, annual meeting, Electron Microscopy Society of America ◽

10.1017/s0424820100180549 ◽

1990 ◽

Vol 48 (1) ◽

pp. 358-359

Author(s):

Lee H. Veneklasen

Keyword(s):

Parallel Imaging ◽

Objective Lens ◽

Energy Window ◽

Flat Surfaces ◽

Beam Voltage ◽

New Instrument ◽

Real Time Image ◽

Image Planes ◽

Backscatter Diffraction ◽

Time Image

This paper discusses some of the unique aspects of a spectroscopic emission microscope now being tested in Clausthal. The instrument is designed for the direct parallel imaging of both elastic and inelastic electrons from flat surfaces. Elastic contrast modes of the familiar LEEM include large and small angle LEED, mirror microscopy, backscatter diffraction contrast (for imaging of surface structure), and phase contrast (for imaging of step dynamics)(1). Inelastic modes include topology sensitive secondary, and work function sensitive photoemission. Most important, the new instrument will also allow analytical imaging using characteristic Auger or soft X-ray emissions. The basic instrument has been described by Bauer and Telieps (2). This configuration has been redesigned to include an airlock, and a LaB6 gun, triple condensor lens, magnetic objective lens, a double focussing separator field, an imaging energy analyzer, and a real time image processor.Fig. 1 shows the new configuration. The basic beam voltage supply Vo = 20 KV, upon which separate supplies for the gun Vg, specimen Vs, lens electrode Vf, and analyzer bias Vb float. The incident energy at the sample can be varied from Vs = 0-1 KV for elastic imaging, or from Vg + Vs = (3 + Vs) KV for inelastic imaging. The image energy window Vs±V/2 may be varied without readjusting either the illumation, or imaging/analyzer optics. The diagram shows conjugate diffraction and image planes. The apertures defining incoming Humiliation and outgoing image angles are placed below the separator magnet to allow for their independent optimization. The instrument can illuminate and image 0.5-100 μm fields at 0-1 keV emission energies with an energy window down to 0.2 eV.

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The Invisible Exit Sign

Skin & Allergy News ◽

10.1016/s0037-6337(06)71017-8 ◽

2006 ◽

Vol 37 (2) ◽

pp. 14

Author(s):

ALAN ROCKOFF

Keyword(s):

The Invisible

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Moving to Solution

Experimental Psychology (formerly Zeitschrift für Experimentelle Psychologie) ◽

10.1027/1618-3169/a000213 ◽

2013 ◽

Vol 60 (6) ◽

pp. 403-409 ◽

Cited By ~ 12

Author(s):

K. Werner ◽

M. Raab

Keyword(s):

Problem Solving ◽

Embodied Cognition ◽

Cognitive Functions ◽

Problem Space ◽

Arm Swing ◽

String Problem ◽

Problem Solving Process ◽

Problem Solving Task ◽

Bodily Movements

Embodied cognition theories suggest a link between bodily movements and cognitive functions. Given such a link, it is assumed that movement influences the two main stages of problem solving: creating a problem space and creating solutions. This study explores how specific the link between bodily movements and the problem-solving process is. Seventy-two participants were tested with variations of the two-string problem (Experiment 1) and the water-jar problem (Experiment 2), allowing for two possible solutions. In Experiment 1 participants were primed with arm-swing movements (swing group) and step movements on a chair (step group). In Experiment 2 participants sat in front of three jars with glass marbles and had to sort these marbles from the outer jars to the middle one (plus group) or vice versa (minus group). Results showed more swing-like solutions in the swing group and more step-like solutions in the step group, and more addition solutions in the plus group and more subtraction solutions in the minus group. This specificity of the connection between movement and problem-solving task will allow further experiments to investigate how bodily movements influence the stages of problem solving.

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