This volume explores the constitutive role played by space in the performance of Kutiyattam. The only surviving form of Sanskrit theatre, Kutiyattam is distinctive in terms of its performance conventions and its unique culture of extensive elaboration and interpretation. Drawing upon the concepts of phenomenology on the processes of perception, particularly on the works of Edmund Husserl, Martin Heidegger and Maurice Merleau-Ponty, it analyses the role of space in the communicative structures of performance of Kutiyattam and its contribution to the production of meaning in theatre, especially in the context of contemporary theatre. The book explores the theatrical event as a phenomenon that comes into existence through a triangular relationship among the ‘ways of being’ of the performers, the ‘ways of seeing’ of the audience, and the space which brings them together. Based on this formulation, Kutiyattam is approached as a ‘theatre of elaboration,’ made possible by the ‘intimate,’ ‘proximal’ ways of seeing of the audience, in the particular theatrical space of the kūttampalaṃs, the temple theatres, where Kutiyattam has customarily been performed for more than five centuries. This volume will be of great interest to scholars and researchers of cultural studies, theatre and performance studies, cultural anthropology, phenomenology and South Asian studies.

The essays in Ways of Seeing, Ways of Speaking: The Integration of Rhetoric and Vision in Constructing the Real explore the intersections among image, word, and visual habits in shaping realities and subjectivities.

Brings together cutting edge experiments and theoretical treatments regarding space, time and motion in visual neuroscience and psychophysics.

Mario Betti strives to make sense of the world through different lenses framed as 12 archetypes; Phenomonalism, Sensualism, Materialism, Mathematism, Rationalism, Idealism, Psychism, Pneumatism, Monadism, Dynamism, Realism and Humanus.Betti draws on the research of Rudolph Steiner and his twelvefold typology of human and cosmic thought to explore and validate each world view from its own unique perspective. In this way he means to transform dogmatism and enable a deeper dialogue. The book includes a study guide, World View by World View, which comprises of templates for lesson structures and questions for discussion put together by the author Mario Betti and Kathelijne Drenth of the Cloverleaf Foundation, The Netherlands.

This book contributes to the re-emerging field of theology through the arts by proposing a way of approaching one of the most challenging theological concepts - divine timelessness - through the principle of construction of space in the icon. One of the main objectives of this book is to discuss critically the implications of reverse perspective, which is especially characteristic of Byzantine and Byzantining art.Drawing on the work of Pavel Florensky, one of the foremost Russian religious philosophers at the beginning of the 20th century, Antonova shows that Florensky's concept of 'supplementary planes' can be used productively within a new approach to the question. Antonova works up new criteria for the understanding of how space and time can be handled in a way that does not reverse standard linear perspective (as conventionally claimed) but acts in its own way to create eternalised images which are not involved with perspective at all. Arguing that the structure of the icon is determined by a conception of God who exits in past, present, and future, simultaneously, Antonova develops an iconography of images done in the Byzantine style both in the East and in the West which is truer to their own cultural context than is generally provided for by western interpretations. This book draws upon philosophy, theology and liturgy to see how relatively abstract notions of a deity beyond time and space enter images made by painters.

This book presents nine lenses through which the body is conventionally viewed. The body as object, the body as subject, the phenomenological body, the contextual body, the interdependent body, the environmental body, the cultural body and, finally, the ecological body. Designed to be a guide and stimulus for teachers, students and practitioners of dance, performance, movement, somatics and the arts therapies - and for anyone troubled by the idea of a brain on legs.

In Technology as Experience, John McCarthy and Peter Wright argue that any account of what is often called the user experience must take into consideration the emotional, intellectual, and sensual aspects of our interactions with technology. We don't just use technology, they point out; we live with it. They offer a new approach to understanding human-computer interaction through examining the felt experience of technology. Drawing on the pragmatism of such philosophers as John Dewey and Mikhail Bakhtin, they provide a framework for a clearer analysis of technology as experience. Just as Dewey, in Art as Experience, argued that art is part of everyday lived experience and not isolated in a museum, McCarthy and Wright show how technology is deeply embedded in everyday life. The "zestful integration" or transcendent nature of the aesthetic experience, they say, is a model of what human experience with technology might become. McCarthy and Wright illustrate their theoretical framework with real-world examples that range from online shopping to ambulance dispatch. Their approach to understanding human computer interaction—seeing it as creative, open, and relational, part of felt experience—is a measure of the fullness of technology's potential to be more than merely functional.