Movement, Embodiment, Emotion

The relationship between vision and embodiment has still not been adequately discussed. Even less attention has been paid to the anthropological and art historical significance of embodied responses to movement, and the implications for the understanding of both imitation and emotion. In this paper I suggest that we should be less sceptical about the differences in epistemological regimes between science and art, and pay more attention to the neural bases of simulation, embodiment and emotion. I will point to some of the parallels between responses to artworks, to other images, and to the sight of the actual processes of work and play in diverse cultures