Paolo Bozzi S Experimental Phenomenology

This anthology translates eighteen papers by Italian philosopher and experimental psychologist Paolo Bozzi (1930-2003), bringing his distinctive and influential ideas to an English-speaking audience for the first time. The papers cover a range of methodological and experimental questions concerning the phenomenology of perception and their theoretical implications, with each one followed by commentary from leading international experts. In his laboratory work, Bozzi investigated visual and auditory perception, such as our responses to pendular motion and bodies in freefall, afterimages, transparency effects, and grouping effects in dot lattices and among sounds (musical notes). Reflecting on the results of his enquiries against the background of traditional approaches to experimentation in these fields, Bozzi took a unique realist stance that challenges accepted approaches to perception, arguing that experimental phenomenology is neither a science of the perceptual process nor a science of the appearances; it is a science of how things are. The writings collected here offer an important resource for psychologists of perception and philosophers, as well as for researchers in cognitive science.

This book features a theoretical depiction of the Italian phenomenological tradition. It brings together the main Italian phenomenologists of the present to discuss the positions and theories of the most important Italian phenomenologists of the past. Those profiled include Antonio Banfi, Sofia Vanni Rovighi, Enzo Paci, Dino Formaggio, Giuseppe Semerari, Enzo Melandri, Paolo Bozzi, Carlo Sini, Giovanni Piana and Paolo Parrini. This collection shows not only the variety of perspectives but also the inner consistency, peculiarity and originality of the tradition. Moreover, the contributors connect continental and analytical traditions, the scientific approach and existentialism. Italian phenomenology, the rise of which dates back to Antonio Banfi’s writings on Husserl in 1923, proves to be from its very beginning, a relational philosophy. It is a philosophy that is capable, precisely by means of its method, of developing actual forms of communication and exchange among the different sciences. This book will provide graduate students and researchers with unique insights into the Italian school of phenomenological thought.

While the scientific study of vision is well-advanced, a universal theory of qualitative visual appearances (texture, shape, colour and so on) is still lacking. This interdisciplinary handbook presents the work of leading researchers around the world who have taken up the challenge of defining and formalizing the field of ‘experimental phenomenology'. Presents and discusses a new perspective in vision science, and formalizes a field of study that will become increasingly significant to researchers in visual science and beyond The contributors are outstanding scholars in their fields with impeccable academic credentials, including Jan J. Koenderink, Irving Biederman, Donald Hoffmann, Steven Zucker and Nikos Logothetis Divided into five parts: Linking Psychophysics and Qualities; Qualities in Space, Time and Motion; Appearances; Measurement and Qualities; Science and Aesthetics of Appearances Each chapter will have the same structure consisting of: topic overview; historical roots; debate; new perspective; methods; results and recent developments

How does a visual artist manage to narrate a story, which has a sequential and therefore temporal progression, using a static medium consisting solely of spatial sign elements and, what is more, in a single image? This is the question on which this work is based, posed by its designer, Alberto Argenton, to whose memory it is dedicated. The first explanation usually given by scholars in the field is that the artist solves the problem by depicting the same character in a number of scenes, thus giving indirect evidence of events taking place at different times. This book shows that artists, in addition to the repetition of characters, devise other spatial perceptual-representational strategies for organising the episodes that constitute a story and, therefore, showing time. Resorting to the psychology of art of a Gestalt matrix, the book offers researchers, graduates, advanced undergraduates, and professionals a description of a large continuous pictorial narrative repertoire (1000 works) and an in-depth analysis of the perceptual-representational strategies employed by artists from the 6th to the 17th century in a group of 100 works narrating the story of Adam and Eve.

Experimental Phenomenology has already been lauded for the ease with which its author explains and demonstrates the kinds of consciousness by which we come to know the structure of objects and the structure of consciousness itself. The format of the book follows the progression of a number of thought experiments which mark out the procedures and directions of phenomenological inquiry. Making use of examples of familiar optical illusions and multi-stable drawings, Professor Ihde illustrates by way of careful and disciplined step-by-step analyses, how some of the main methodological procedures and epistemological concepts of phenomenology assume concrete relevance. Such formidable fare as epoche, noetic and noematic analysis, apodicticity, adequacy, sedimentation, imaginative variation, field, and fringe are rendered into the currency of familiar examples from the everyday world.

This book features a theoretical depiction of the Italian phenomenological tradition. It brings together the main Italian phenomenologists of the present to discuss the positions and theories of the most important Italian phenomenologists of the past. Those profiled include Antonio Banfi, Sofia Vanni Rovighi, Enzo Paci, Dino Formaggio, Giuseppe Semerari, Enzo Melandri, Paolo Bozzi, Carlo Sini, Giovanni Piana and Paolo Parrini. This collection shows not only the variety of perspectives but also the inner consistency, peculiarity and originality of the tradition. Moreover, the contributors connect continental and analytical traditions, the scientific approach and existentialism. Italian phenomenology, the rise of which dates back to Antonio Banfis writings on Husserl in 1923, proves to be from its very beginning, a relational philosophy. It is a philosophy that is capable, precisely by means of its method, of developing actual forms of communication and exchange among the different sciences. This book will provide graduate students and researchers with unique insights into the Italian school of phenomenological thought.