Vision is t just a simple recognition of what passes through our field of sight, the reflection and observation of light and shape. Even before Freud posited dreams as a way of seeing as we sleep, the writings of philosophers, artists, and scientists from Goethe to Cezanne have argued that to understand vision as a mere mirroring of the outside world is to overlook a more important cognitive act of seeing that is dependent on time. Bringing together a rewned international group of contributors, Vision in Motion explores one of the most vexing problems in the study of vision and cognition: To make sense of the sensations we experience when we see something, we must configure many moments into a synchrous image. This volume offers a critical reexamination of seeing that restores a concept of vision in motion that avoids reducing the sensations we experience to narrative chrological sequencing. The contributors draw on Hume, Bergson, and Deleuze, among others, to establish a nuanced idea of how we perceive.
Michael F. Zimmermann is an art historian and chair of the Department of Art History at the Catholic University Eichstatt-Ingolstadt, Germany. He is the author or editor of several books, including The Art Historian: National Traditions and Institutional Practices and Seurat and the Art Theory of His Time.