The Sense Of Space

The Sense of Space brings together space and body to show that space is a plastic environment, charged with meaning, that reflects the distinctive character of human embodiment in the full range of its moving, perceptual, emotional, expressive, developmental, and social capacities. Drawing on the philosophies of Merleau-Ponty and Bergson, as well as contemporary psychology to develop a renewed account of the moving, perceiving body, the book suggests that our sense of space ultimately reflects our ethical relations to other people and to the places we inhabit.

The Sense of Space brings together space and body to show that space is a plastic environment, charged with meaning, that reflects the distinctive character of human embodiment in the full range of its moving, perceptual, emotional, expressive, developmental, and social capacities. Drawing on the philosophies of Merleau-Ponty and Bergon, as well as contemporary psychology to develop a renewed account of the moving, perceiving body, the book suggests that our sense of space ultimately reflects our ethical relations to other people and to the place we inhabit. "I like the combination of sober scholarship with imaginative thought and writing. David Morris is fully at home in phenomenology, while being quite knowledgeable of existing and pertinent scientific literature. Having mastered both, he creates a dynamic tension between them, showing how each can fructify the other, albeit in very different ways. The result is truly impressive.

How do we perceive the space around us, locate objects within it, and make our way through it? What do the senses contribute? This book focuses on touch in order to examine which aspects of vision and touch overlap in spatial processing. It argues that spatial processing depends crucially on integrating diverse sensory inputs as reference cues for the location, distance or direction response that spatial tasks demand. Space and Sense shows how perception by touch, as by vision, can be helped by external reference cues, and that ‘visual’ illusions that are also found in touch depend on common factors and do not occur by chance. Susanna Millar presents new evidence on the role of spatial cues in touch and movement both with and without vision, and discusses the interaction of both touch and movement with vision in spatial tasks. The book shows how perception by touch, as by vision, can be helped by external reference cues, and that ‘visual’ illusions that are also found in touch depend on common factors and do not occur by chance. It challenges traditional views of explicit external reference cues, showing that they can improve spatial recall with inputs from touch and movement, contrary to the held belief. Space and Sense provides empirical evidence for an important distinction between spatial vision and vision that excludes spatial cues in relation to touch. This important new volume extends previous descriptions of bimodal effects in vision and space.

The use of Virtual Worlds (VWs) has increased in the last decade. VWs are used for communication, education, community building, creative arts, and more. A good deal of research has been conducted into learning and VWs, but other areas remain ripe for investigation. Factors from technological platforms to the nature and conventions of the communities that use VWs must be considered, in order to achieve the best possible interaction between virtual spaces and their users. Making Sense of Space focuses on the background to these issues, describing a range of case studies conducted by the authors. The book investigates the innovative and creative ways designers employ VWs for research, performance-making, and audience engagement. Secondly, it looks into how educators use these spaces to support their teaching practice. Lastly, the book examines the potential of VWs as new methods of communication, and the ways they are changing our perception of reality. This book is structured into four chapters. An introduction provides a history and outline of important themes for VWs, and subsequent chapters consider the design of virtual spaces, experience of virtual spaces, and communication in virtual spaces. Written by two experienced academics and practitioners in the field, offering different perspectives Uses a multidisciplinary approach, drawing on: education; scenography; performance studies; disaster management; and computer science Provides multiple viewpoints on the topic, gained through interviews and contributions from a range of experts, as well as several co-authored chapters

Essays discuss chronicles, clarify ideas of creation temporally understood, the meaning of “simultaneous times,” or simultaneity, and the concept of “no-time.” Essays also examine time in social and political contexts, as measured by clocks, as notated in music, as embodied in memorializing stone, and as the subject and medium of consciousness.

Henri Lefebvre has considerable claims to be the greatest living philosopher. His work spans some sixty years and includes original work on a diverse range of subjects, from dialectical materialism to architecture, urbanism and the experience of everyday life. The Production of Space is his major philosophical work and its translation has been long awaited by scholars in many different fields. The book is a search for a reconciliation between mental space (the space of the philosophers) and real space (the physical and social spheres in which we all live). In the course of his exploration, Henri Lefebvre moves from metaphysical and ideological considerations of the meaning of space to its experience in the everyday life of home and city. He seeks, in other words, to bridge the gap between the realms of theory and practice, between the mental and the social, and between philosophy and reality. In doing so, he ranges through art, literature, architecture and economics, and further provides a powerful antidote to the sterile and obfuscatory methods and theories characteristic of much recent continental philosophy. This is a work of great vision and incisiveness. It is also characterized by its author's wit and by anecdote, as well as by a deftness of style which Donald Nicholson-Smith's sensitive translation precisely captures.

How many senses are there to be counted for?Part 2 of 3 of a Self-Publishing history in exploration of what it means to examine what is and isn't in your space. A perception of never being able to pick up every little detail unless you have an ability to start piecing things together. A Sense of Accomplishment back in 2019 as my first Self Published book, Curated Jellyfish: A Paradise Lost was printed and delivered. As writing styles are hard to kick once you get into it, the second section of my S.O.S. carries on narrative in Secrets and blends life wrapped around studies of art, history and theory. Mystery in the thought process where concept of time remains to revisit such writings and flesh out a space of perspective where time has again lapsed as if one lived along the way to where a revisit to the questions of 'What is my Sense of Space? and looking at that from both then when I contemplated it and that up to the time of submit to copyright.