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Books on the topic 'Gesture'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Stam, Gale, Gale Stam, and Mika Ishino. Integrating gestures: The interdisciplinary nature of gesture. Amsterdam: John Benjamins Pub., 2011.

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2

Ormerod, Roger. Farewell gesture. New York: Doubleday, 1991.

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3

Connors, April. Gesture Drawing. Boca Raton, FL : CRC Press, Taylor & Francis Group, 2018.: CRC Press, 2017. http://dx.doi.org/10.1201/9781315156385.

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4

Church, R. Breckinridge, Martha W. Alibali, and Spencer D. Kelly, eds. Why Gesture? Amsterdam: John Benjamins Publishing Company, 2017. http://dx.doi.org/10.1075/gs.7.

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5

Escalera, Sergio, Isabelle Guyon, and Vassilis Athitsos, eds. Gesture Recognition. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-57021-1.

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6

Konar, Amit, and Sriparna Saha. Gesture Recognition. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-62212-5.

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7

Linda, Corriveau, and Hatay Nona, eds. Pure gesture. Nevada City, CA: Gateways, 1990.

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8

Winterthur, Kunstmuseum, ed. Frozen gesture: Gesten in der Malerei = gestures in painting. München: Hirmer Verlag, 2019.

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9

McNeill, David. Gesture and Thought. Chicago: University of Chicago Press, 2008.

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10

Cienki, Alan, and Cornelia Müller, eds. Metaphor and Gesture. Amsterdam: John Benjamins Publishing Company, 2008. http://dx.doi.org/10.1075/gs.3.

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11

David, McNeill, ed. Language and gesture. Cambridge: Cambridge University Press, 2000.

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12

J, Docherty Gerard, Ladd D. Robert 1947-, and Conference in Laboratory Phonology (2nd : 1989 : Edinburgh, Scotland), eds. Gesture, segment, prosody. Cambridge: Cambridge University Press, 1991.

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13

Lee, Chang-rae. A gesture life. [Waterville, Me.]: Wheeler Pub., 2002.

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14

Lee, Chang-rae. A gesture life. New York: Riverhead Books, 1999.

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15

Bellini, Pier Paolo. The Creative Gesture. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-54219-0.

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16

J, Cienki Alan, and Müller Cornelia, eds. Metaphor and gesture. Philadelphia: John Benjamins, 2008.

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17

McCafferty, Steven G. Gesture. Routledge, 2009. http://dx.doi.org/10.4324/9780203866993.

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18

Kromer, Theresa. Gesture. Independent Publisher, 2011.

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19

Norman, Keith Van. Gesture. Xlibris Corporation, 2000.

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20

Cooper, John Cobb. Gesture. Open Road Integrated Media, Inc., 2015.

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21

Petar Bojanič and Virgilio Cesarone. Gesture. Mimesis Edizioni, 2023.

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22

Quipildor, Hernán. Gesture. Blurb, 2016.

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23

Integrating gestures: The interdisciplinary nature of gesture. Amsterdam: John Benjamins Pub., 2011.

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24

Zbikowski, Lawrence M. Music and Gesture. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190653637.003.0004.

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This chapter explores the relationship between music and physical gesture, drawing on recent research on the spontaneous gestures that accompany speech. Such gestures appear to be motivated by thought processes that are independent from speech and that in many cases offer analogs for dynamic processes. The chapter outlines the infrastructure for human communication that supports language and gesture as well as music. This outline provides a framework for exploring how music and gesture are similar and for how they are different. These comparisons are made through analyses of the movements Fred Astaire makes while accompanying himself at the piano in the 1936 film Swing Time and those Charlie Chaplin makes to Brahms’s Hungarian Dance No. 5 in the 1941 film The Great Dictator. These analyses further explicate the role of syntactic processes and syntactic layers in musical grammar and introduce referential frameworks, which serve as perceptual anchors for syntactic processes.

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25

McAndrew, Deborah. Grand Gesture. Bloomsbury Publishing Plc, 2013.

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26

Winnicott, Donald W., and F. Robert Rodman. Spontaneous Gesture. Taylor & Francis Group, 2019.

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27

Donin, Nicolas. Domesticating gesture. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0005.

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As personal and solitary as it may be, the process of composition always implies more than one individual and has many collective dimensions. This chapter presents an ethnographic account of the collective process involved in creating a work for ‘augmented string quartet’ at IRCAM from 2006 to 2008. It addresses three primary concerns: the composer–performer interaction and the role of musical notation; the relationship between artistic creativity and reflexivity; and the sharing of skills and expertise across disciplines. The project led not only to a new musical work, but also to a technological device for ‘gesture-following’ (including customised motion sensors and innovative software), scientific papers, and new expertise in computer music design for future projects involving motion capture. These patterns of distributed creativity are essential to ‘musical research’ as a collective endeavour, and are present in many other circumstances of contemporary or traditional composition and performance.

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28

Jamil, Ghazala. Closing Gesture. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199470655.003.0008.

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The Ideal City is made up of the stuff of dreams. All its residents can dream of a city which they can create in their own image of happiness, and live in everyday. In the Ideal City, the worth of human life is not measured by how much an individual being can consume. In the Ideal City, the residents are aware that they do not merely consume, but they also can and do create. The Ideal City comprises of persons and collectivities who share an inalienable humanity, and not just of people marked as ‘islands’ by their ‘individuality’. In the Ideal City, differences do not need insularity and each dweller ...

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29

Santilli, Kristine S. Poetic Gesture. Routledge, 2013. http://dx.doi.org/10.4324/9781315023861.

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30

Moronis, Costas. Gesture recognition. 1995.

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31

Adler, Leslie. Gesture: Emotion. Blurb, 2018.

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32

Grand Gesture. Bloomsbury Publishing Plc, 2013.

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33

Isolated Gesture. Zelman Studios, 2012.

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34

Farewell Gesture. Severn House Publishers, 1995.

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35

Manning, Erin. Minor Gesture. Duke University Press, 2016.

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36

Ormerod, Roger. Farewell Gesture. Ulverscroft Large Print, 1999.

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37

Marfiya, Shamsad. Hidden Gesture. Independently Published, 2019.

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38

Lee, Chang-rae. Gesture Life. Granta Books, 2000.

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39

McAndrew, Deborah. Grand Gesture. Bloomsbury Publishing Plc, 2013.

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40

Escalera, Sergio, Isabelle Guyon, and Vassilis Athitsos. Gesture Recognition. Springer, 2018.

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41

Escalera, Sergio, Isabelle Guyon, and Vassilis Athitsos. Gesture Recognition. Springer, 2017.

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42

Thalenburg, Eileen. Gesture Poems. Wildside Press, LLC, 1995.

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43

Grand Gesture. Independently Published, 2021.

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44

Singhal, Ayaansh. Goodwill Gesture. Independently Published, 2021.

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45

The gesture. Sag Harbor, NY: Second Chance Press, 1988.

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46

Webb, Heather. Dante, Artist of Gesture. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192866998.001.0001.

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Abstract Dante, Artist of Gesture proposes a visual technique for reading Dante’s Commedia, as if the striking gestural images that it imprints on the reader’s mind were arranged in an architectural space. Art historians have shown how series of discrete images or scenes in medieval places of worship, such as the programme of mosaics in the Baptistery of San Giovanni in Florence or the programme of frescoes in the Scrovegni Chapel in Padua, establish not only narrative sequences but also typological parallelisms between registers, forging links between those registers by the use of colour and gestural forms. This book takes up those techniques to show that the Commedia likewise invites the reader to make visual links between disparate, non-sequential moments in the text. In other words, Dante’s poem asks readers to view its verbally articulated sequences of images with a set of observational tools that could be acquired from the practice of engaging with and meditating on the bodily depictions of vice and virtue in fresco cycles or programmes of mosaics in places of worship. One of the most inherently visible aspects of the Commedia is the representation of signature gestures of the characters described in each of the realms. The tracing of described gestures and bodily signs across the canticles of the poem provides a key for identifying affective and devotional itineraries within the text.

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47

Smith, Matthew Wilson. The Emptying of Gesture. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190644086.003.0002.

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How can one read another’s true thoughts and feelings? Many philosophical texts and acting manuals reached the same answer to this age-old question: we can read another’s hidden mental states through careful observation of gesture—especially unconscious gesture. Gesture, in this account, offered a promise that words could not, the promise of a natural, universal language and a royal road to the psyche. This chapter tells a story of this promise’s disintegration and the gradual replacement of gestures by nerves as reliable signs of mental states. The chapter’s first part traces connections between acting handbooks of the period, the plays of Joanna Baillie, and the scientific work of two of Britain’s most prominent medical researchers: Joanna’s brother, Matthew Baillie, and Charles Bell. These interactions indicate both the continuing cultural importance of natural-language theories of gesture and its fraying in the face of neurological developments. The second half examines the ways that Percy Shelley’s play The Cenci rends this fraying fabric.

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48

Ladd, D. Robert, and Gerard J. Docherty. Gesture, Segment, Prosody. Cambridge University Press, 2011.

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49

Chare, Nicholas, and Liz Watkins, eds. Gesture and Film. Routledge, 2017. http://dx.doi.org/10.4324/9781315707327.

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50

Winnicott, D. W. The Spontaneous Gesture. Edited by F. Robert Rodman. Routledge, 2018. http://dx.doi.org/10.4324/9780429483318.

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