Abstract

Shaped through interrelated body schemas and the intermediary space and time of gestural interaction, kinesic events ground the possibility of intersubjectivity. Buster Keaton and Jacques Tati tell extraordinarily expressive, albeit silent, tales of kinesis. They stage the complexity of multi-layered forms of intentionality and agency, and show the cardinal importance of sensorimotricity in human cognition. Kinesic fictionalizing acts in their films manifest the significance of unpredictability in human expressiveness as well as the importance of active perception in the viewer’s reception of artworks