Gregory Minissale University of Auckland
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About me
Gregory Minissale is an art historian whose doctoral research at the School of Oriental and African Studies, University of London, focused on the phenomenology of transcultural encounters in art. This background has informed his ongoing research into how perception and other forms of consciousness are engaged in the production and reception of art. He has taught art history to undergraduates and postgraduates in the UK and the US, and aims to integrate aspects of neurophenomenology, art theory and philosophy in order to provide new ways of researching and interpreting art and visual experience.
My works
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  1. Gregory Minissale (2015). The Invisible Within. Angelaki 20 (1):71-83.
    :Visual culture – art, film, entertainment, advertising – are saturated with images of normative heterosexual masculinity. They form visual narratives that project a largely coherent kind of masculinity where heterosexual men are shown to be creative and powerful; they initiate heroic action, take the moral high ground and preserve traditional roles and the status quo. This widely extensive visual field, peopled with normative images of masculinity, also affects and infiltrates the domain of art exemplified by Jackson Pollock and abstract expressionism (...)
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  2. Gregory Minissale (2010). Beyond Internalism and Externalism: Husserl and Sartre's Image Consciousness in Hitchcock And. Buñuel. Film-Philosophy 14 (1):174-201.
    Husserl and Sartre’s analyses of mental imagery and some of the latest cognitive research on vision provide a framework for understanding a number of films by Hitchcock (Psycho and Rear Window) and Buñuel (Un Chien Andalou), films which similarly probe the subtleties and uses of mental imagery. One of the many ways to enjoy these films is to see them as explorations of visual phenomenology; they allow us to enact, as well as reflect upon, mental images as part of the (...)
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  3. Gregory Minissale (2009). Enacting Higher Order Thoughts: Velazquez and Las Meninas. Journal of Consciousness Studies 16 (2-3):165-89.
    This paper bridges art history and consciousness studies and investigates the network of gazes and frames in Las Meninas and how this engages with a system of higher-order thoughts and reflexive operations.
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  4. Gregory Minissale (2009). Framing Consciousness in Art: Transcultural Perspectives. Rodopi.
    Framing Consciousness in Art shows how the frames-in-frames in these different contexts question notions of vision and representation, linear time, conventional spatial coordinates, binaries of ‘internal’ consciousness and ‘external’ world, subject and object, and the precise anatomy of mental states by which we are meant to carve up the territory of consciousness. The phenomenological experience of art is certainly as important as the folk psychology which scientists and philosophers use to taxonomise ordinary first-person modes of subjectivity. Yet art excels in (...)
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