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Phenomenological and empirical methods of investigating visual experience converge to support the thesis that visual perception is an ongoing process of anticipation and fulfillment. In this book, Michael Madary examines visual experience, drawing on both phenomenological and empirical methods of investigation. He finds that these two approaches—careful, philosophical description of experience and the science of vision—independently converge on the same result: Visual perception is an ongoing process of anticipation and fulfillment. Madary first makes the case for the descriptive premise, arguing that the phenomenology of vision is best described as on ongoing process of anticipation and fulfillment. He discusses visual experience as being perspectival, temporal, and indeterminate; considers the possibility of surprise when appearances do not change as we expect; and considers the content of visual anticipation. Madary then makes the case for the empirical premise, showing that there are strong empirical reasons to model vision using the general form of anticipation and fulfillment. He presents a range of evidence from perceptual psychology and neuroscience, and reinterprets evidence for the two-visual-systems hypothesis. Finally, he considers the relationship between visual perception and social cognition. An appendix discusses Husserlian phenomenology as it relates to the argument of the book. Madary argues that the fact that there is a convergence of historically distinct methodologies itself is an argument that supports his findings. With Visual Phenomenology, he creates an exchange between the humanities and the sciences that takes both methods of investigation seriously.
Phenomenological and empirical methods of investigating visual experience converge to support the thesis that visual perception is an ongoing process of anticipation and fulfillment. In this book, Michael Madary examines visual experience, drawing on both phenomenological and empirical methods of investigation. He finds that these two approaches—careful, philosophical description of experience and the science of vision—independently converge on the same result: Visual perception is an ongoing process of anticipation and fulfillment. Madary first makes the case for the descriptive premise, arguing that the phenomenology of vision is best described as on ongoing process of anticipation and fulfillment. He discusses visual experience as being perspectival, temporal, and indeterminate; considers the possibility of surprise when appearances do not change as we expect; and considers the content of visual anticipation. Madary then makes the case for the empirical premise, showing that there are strong empirical reasons to model vision using the general form of anticipation and fulfillment. He presents a range of evidence from perceptual psychology and neuroscience, and reinterprets evidence for the two-visual-systems hypothesis. Finally, he considers the relationship between visual perception and social cognition. An appendix discusses Husserlian phenomenology as it relates to the argument of the book. Madary argues that the fact that there is a convergence of historically distinct methodologies itself is an argument that supports his findings. With Visual Phenomenology, he creates an exchange between the humanities and the sciences that takes both methods of investigation seriously.
The Paradox of Sublimity
The book is a comprehensive phenomenological study of meanings that are unique to the major visual art forms.
This textbook on vision reflects the integrated computational approach of modern research scientists, combining psychological, computational and neuroscientific perspectives.
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
Images have always stirred ambivalent reactions. Yet whether eliciting fascinated gazes or iconoclastic repulsion from their beholders, they have hardly ever been seen as true sources of knowledge. They were long viewed as mere appearances, placeholders for the things themselves or deceptive illusions. Today, the traditional critique of the spectacle has given way to an unconditional embrace of the visual. However, we still lack a persuasive theoretical account of how images work. Emmanuel Alloa retraces the history of Western attitudes toward the visual to propose a major rethinking of images as irreplaceable agents of our everyday engagement with the world. He examines how ideas of images and their powers have been constructed in Western humanities, art theory, and philosophy, developing a novel genealogy of both visual studies and the concept of the medium. Alloa reconstructs the earliest Western media theory—Aristotle’s concept of the diaphanous milieu of vision—and the significance of its subsequent erasure in the history of science. Ultimately, he argues for a historically informed phenomenology of images and visual media that explains why images are not simply referential depictions, windows onto the world. Instead, images constantly reactivate the power of appearing. As media of visualization, they allow things to appear that could not be visible except in and through these very material devices.
During the first decade of its existence, from 1999 to 2008, the Society for Phenomenology and Media held annual international conferences in San Diego (California), Puebla (Mexico), Krakow (Poland), Helsinki (Finland), Buenos Aires (Argentina), Provo (Utah), and Monmouth (Oregon). Papers delivered at these conferences were published in the Society's journal, Glimpse. The current volume is an anthology of essays drawn from the first ten years of Glimpse. From its birth, the Society sought to bridge the gap between contemporary media theory and practice and phenomenological insight. Essays in this anthology include work on digital representation, film, mobile communication, cyberspace, medieval manuscripts, print, radio, the stage, TV, virtual reality, and other media, as well as theoretical papers dealing with media aesthetics, epistemology, ethics, politics, and ontology.
This collection of essays explores the history, implications, and usefulness of phenomenology for the study of real and virtual places. While the influence of phenomenology on architecture and urban design has been widely acknowledged, its effect on the design of virtual places and environments has yet to be exposed to critical reflection. These essays from philosophers, cultural geographers, designers, architects, and archaeologists advance the connection between phenomenology and the study of place. The book features historical interpretations on this topic, as well as context-specific and place-centric applications that will appeal to a wide range of scholars across disciplinary boundaries. The ultimate aim of this book is to provide more helpful and precise definitions of phenomenology that shed light on its growth as a philosophical framework and on its development in other disciplines concerned with the experience of place.
Buddhist philosophy of Anicca (impermanence), Dukkha (suffering), and