Is all knowledge the product of thought? Or can the physical interactions of the body with the world produce reliable knowledge? In late-nineteenth-century Europe, scientists, artists, and other intellectuals theorized the latter as a new way of knowing, which Zeynep Celik Alexander here dubs "kinaesthetic knowing." In this book, Alexander offers the first major intellectual history of kinaesthetic knowing and its influence on the formation of modern art and architecture and especially modern design education. Focusing in particular on Germany, and tracing the story up to the start of World War II, Alexander reveals the tension between intellectual meditation and immediate experience to be at the heart of the modern discourse of aesthetics, playing a major part in the artistic and teaching practices of numerous key figures of the period, including Heinrich Wolfflin, Hermann Obrist, August Endell, Laszlo Moholy-Nagy, and many others. Ultimately, she shows, kinaesthetic knowing did not become the foundation of the human sciences, as some of its advocates had hoped, but it did lay the groundwork at such institutions as the Bauhaus for modern art and architecture in the twentieth century.
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Zeynep Celik Alexander is an architectural historian. She teaches at the University of Toronto.
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Buch. Zustand: Neu. Neuware - This book explores an alternative way of learning and understanding theorized in Germany in the late nineteenth century. 'Kinaesthetic knowing'--knowing through the experience of the entire body rather than just through an artificial, steady gaze-- evolved from a rich nexus of discovery involving science, medicine, philosophy, motion studies, photography and other new technologies, and the arts. It became an important aspect of design education in Germany leading to modern architecture as practiced at the Bauhaus in the Twenties and Thirties. Techniques used in this alternative way of knowing at the design schools included comparative looking, emotional/affective response, using the body freely in drawing and not worrying about exact imitation, and manipulating traditional rules of composition. Along the way, we encounter Heinrich Wolfflin, Hermann Obrist, Laszlo Moholy-Nagy, and many more. The Bauhaus material is good and rich: particularly impressive is the pedagogical information that has generally been overlooked by other researchers. Artikel-Nr. 9780226485201
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