Attempts to introduce Gestalt theory into the realm of visual neuroscience are discussed on both theoretical and experimental grounds. To define the framework in which these proposals can be defended, this paper outlines the characteristics of a standard model, which qualifies as a received view in the visual neurosciences, and of the research into natural images statistics. The objections to the standard model and the main questions of the natural images research are presented. On these grounds, this paper defends the (...) view that Gestalt psychology and experimental phenomenology provide a contribution to the research into perception by the construction of phenomenological models for an ecologically meaningful interpretation of the empirical evidence and the hypothetical constructs of the natural image research within the visual neuroscience. A formal framework for the phenomenological models is proposed, wherein Gestalt theoretical principles and empirical evidence are represented in terms of topological properties and relationships, which account for the order and structures that make the environment accessible to observers at a relevant behavioural level. It is finally argued that these models allow us to evaluate the principles and the empirical evidence of various natures which are integrated from different fields into the research into perception, and in particular into visual neurosciences. (shrink)

This paper deals with two theories Husserl worked out on imagery in order to see if the properties a phenomenological description ascribes to imagery are fit to give meaningful constraints upon theoretical models that guide empirical research. Husserlian descriptions and Kosslyn and colleagues models are hence compared as to their explanatory strategy and implications.

Some issues heavily debated in perception sciences are presented: the explanatory gap and the experience measurement problem. The experimental phenomenology is said to provide substantive contribution to settle controversy over the phenome- nological adequacy of perception theory and models. An interpretation of experi- mental phenomenology as explanation of the perceptual manifold, and definition of relation varieties to eventually map onto other perception sciences’ domains is sketched.

This paper tries to sketch what phenomenological constraints for Neurosciences would be looking like. It maintains that such an adequate phenomenological description as that provided by Gestalt psychology is a condition for the Neurosciences to account for every-day experience opf the world. The explanatory gap in Cognitive sciences is discussed with reference to Jackendoff, Prinz, and Köhler.

In this paper the relationship between phenomenology of perception and synthetic phenomenology is discussed. Synthetic phenomenology is presented on the basis of the issues in A.I. and Robotics that required to address the question of what enables artificial agents to have phenomenal access to the environment. Phenomenology of perception is construed as a theory with autonomous structure and domain, which can be embedded in a philosophical as well as a scientific theory. Two attempts at specifying the phenomenal content of artificial (...) agents are discussed. Concepts and experimental evidence on the independence of perception and the coordination of motion and appearances are set out to submit that phenomenology of perception makes a contribution to synthetic phenomenology. (shrink)

The research Lucia Pizzo Russo carried out all over her academic and scientific career is focussed on a the following idea: human mind and behaviour make up a cognitive device from whose complexity stems an evolutionary advantage. Hence, the psychological study of mind should take into account all those cognitive functions that underlie man’s ability of perceiving structures and affordances in the visual world as much as of solving problems, where perception and thought deeply interact, and of giving shape to (...) representations, be they artistic forms or scientific theories. But for an adequate psychological account to obtain that complexity must be traded off against the assumption that mind and behaviour are a psychophysical unity. That means that cognition does imply a neurobiological basis, and at the same time that a phenomenological stance is required just as that instanced by Gestalt psychology. In this interview a picture of a piece of life is meant to be given as it goes along with a research whose reference are issues in psychology, psychology of arts and such figures as Brandi, Piaget, Gombrich, Arnheim, Bozzi. (shrink)

The research Lucia Pizzo Russo carried out all over her academic and scientific career is focussed on a the following idea: human mind and behaviour make up a cognitive device from whose complexity stems an evolutionary advantage. Hence, the psychological study of mind should take into account all those cognitive functions that underlie man’s ability of perceiving structures and affordances in the visual world as much as of solving problems, where perception and thought deeply interact, and of giving shape to (...) representations, be they artistic forms or scientific theories. But for an adequate psychological account to obtain that complexity must be traded off against the assumption that mind and behaviour are a psychophysical unity. That means that cognition does imply a neurobiological basis, and at the same time that a phenomenological stance is required just as that instanced by Gestalt psychology. In this interview a picture of a piece of life is meant to be given as it goes along with a research whose reference are issues in psychology, psychology of arts and such figures as Brandi, Piaget, Gombrich, Arnheim, Bozzi. (shrink)

In this theoretical paper, the claim is defended that phenomenology of perception can be integrated into vision science. Different versions of theoretical and experimental phenomenology are presented to specify a minimal set of commitments. It is claimed that the phenomenological research into perception, be it delivered in the form of conceptual analysis or of experimental research, satisfies the epistemological and methodological substantive features of these commitments. As an empirical case for the contribution that the integration of phenomenology into vision science (...) could bring about, the paper presents a received view in the visual neurosciences and the objections against its elementarwise and reductionist stance. The relationships among models and mechanisms are discussed. It is argued that models endowed with linking propositions with phenomenological contents can provide the conceptual case for the integration of phenomenology into vision science to be carried out. (shrink)

Questo articolo si concentra sul problema del rapporto tra fenomenologia e psicologia della percezione. Nella prima parte presenterò alcuni assunti di fondo che qualificano le ricerche sulla percezione nel campo della fenomenologia teorica e in quella della cosiddetta fenomenologia sperimentale. Successivamente intendo approfondire l’analisi, considerando il concetto specifico di percezione impiegato da Husserl nella sua fenomenologia e un concetto più lasco di percezione compatibile con la prospettiva psicologica per gettar luce sulla possibilità di un approccio integrato, mirante a unificare le (...) analisi fenomenologiche e psicologiche nel pieno rispetto delle loro proprie specificità. Nella parte finale del testo cercherò di presentare alcuni elementi che accomunano l’analisi husserliana della percezione e le ricerche sulla percezione sviluppate da una prospettiva psicologica da Paolo Bozzi e Cesare Musatti. (shrink)

Introduzione La formulazione dell’espressione neuroestetica è consensualmente attribuita a Semir Zeki, per il quale essa designa il progetto di elaborare una teoria neurobiologica dell’esperienza estetica. Come si realizza però concretamente questo progetto? Esistono problemi di metodo specifici per la neuroestetica? Nell’ambito del medesimo progetto, è possibile individuare approcci diversi allo studio dell’esperienza estetica? Inoltre, quali aspetti dell’esperienza estetica sono di solito o...