Search results for " ESTETICA"
showing 10 items of 430 documents
Perception / percept
2020
The term perception denotes the capacity of grasping something that to the common sense belongs to external world, which is the stable and persistent collection of things that are the natural and man-made furniture of the environment. Perception denotes also the capacity of sensing something, like warmth or pain, that is the effect of an external or internal cause localized on or inside one’s own body. Therefore, perception has subjective and objective factors as constituents of its conditions of satisfaction. The activity of perception is describable in terms of the percept, namely the objective constituent of its conditions of satisfaction
Analogy
2020
Analogy is a mode of reasoning that is employed in problem solving, logic, science and art. The scheme of analogical reasoning is centred on the detection of similarity or common features across domains. Copi and Cohen (2005), Keynes (1921), Carnap (1980) suggested what analogical reasoning consists of. De Finetti (1938) proposed an alternative treatment of analogy as inference on what is invariant across statistical distributions of distinct event kinds. In problem solving theory, cognitive models of the content and the structural mapping of analogy has been built. Science and art has provided important test beds for models.
Drawing
2020
A drawing is the result of the production of marks on a surface with suitable means to represent a scene, concrete or abstract objects for technological, scientific, artistic, communicative aims. Some theories claimed that drawing is founded on symbolic systems that are culture-dependent. Evidence has been found that the ability of recognizing what drawings represent is widespread across ages, cultures and species. Drawing may be founded on shared cognitive capacities. These capacities can be abstractly described as the graphic and the denotation system.
QUALI FENOMENI PER L’ESTETICA EMPIRICA?
2020
Empirical Aesthetics profits from the research in Cognitive Neurosciences and the target article collects multiple evidence on the neurobiological basis of art and aesthetic experience in order to submit that psychological models give a new definition of the field of Psychology of Arts, if they integrate this empirical evidence with the perceptual, emotional and cognitive capacities, which are assumed to give rise to art and aesthetic experience. The opinion article raises questions about the variety of phenomena in the field, the common methodology to experimental research on cognition and aesthetics, the manifold perceptual attributes which support art and aesthetic cognition, the potenti…
Visualization/Visibility
2020
The term visualization is employed to refer to the capacity of making visible properties, relations, objects and state of affairs which either are no longer presented through perception or depends upon concepts and theoretical definitions, which regard domains that lie outside the scope of perception. In the strict sense, visualization is the kind of experience akin to perception, which is enabled by the structure and the function of imagery. From a functional standpoint, then, the capacity of visualization relies on a not arbitrary mapping between visual-spatial representations and what they stand for. In this broader sense, it is connected with perception and rule-based qualitative reason…
Arte, psicologia e realismo. Saggi in onore di Lucia Pizzo Russo
2011
This volume provides essays by psychologists and philosophers who deal with the insight that led L. Pizzo Russo's lifelong research work, that is understanding human mind amounts to a study of perception and thought at the boundary between psychology and philosophy. A research that is realized without disciplinary prejudices should be thus able to recover the logic of perception and the perceptual nature of thought. At the same time, the phenomenological objectitivity of values and artifacts must be accounted for.
Grouping
2020
Grouping refers to the function of unification and segregation due to factors which account for the fact that the perception of the environment is endowed with order, structures and filled with objects and events among which relations of connection or disjointness hold. Gestalt psychologists provided a wealth of experimental evidence for the specification of the factors and their phenomenological nature, that is their independence from non-perceptual determinants. grouping factors can be discovered through well-defined transformations applied on elements and specified recursively as functional connections. They figure as preferential rules of perceptual grammar.
La scienza della mente attraverso le arti
2015
Il lavoro si propone di ricostruire i temi di ricerca e insegnamento di Lucia Pizzo in prospettiva futura. Si ricostruiscono le ragioni storiografiche e epistemologiche che hanno indotto alla nascita della Psicologia delle Arti come disciplina autonoma e di frontiera tra studio dei principi generali della cognizione (dal pensiero alla percezione) e esemplificazione del loro funzionamento nell'opera d'arte visiva.
Picture
2020
Pictures are a presentation whose structure is decomposable into a surface, an arrangement of markings, the appearance of something in front of, before or behind the surface, the reference to a scene of the real or a possible world, whose aspects and concrete or abstract states of affairs are displayed by the appearance. Pictures are a kind of markings, namely patterns perceived on a surface, which do not yet convey information about it. Markings depend on surfaces. No marking exists without a surface, while the opposite is true. There is a variety of markings according to the technique and the tools chosen to produce them. Surfaces serve as a medium either as a support or as that which aff…
Form constancy
2020
Form constancy denotes the appearance of the invariant shape of objects in the environment, notwithstanding the variability due to changes of the viewpoint, caused by subjects movement, to objects displacement, to illumination, lightness, color, and texture whose variation can affect the internal and external boundaries of the surfaces that fall in the simultaneous or successive views of solid objects. In early psychology of perception, shape invariance was called form constancy to highlight the perceptual ability to derive something constant from the changing forms of the multiple views of objects. Shape is an attribute of 2D surfaces and 3D objects, which are invariant across the transfor…