This essay aims to show that the concept of landscape does not indicate something static or well-defined in the physical world but is rather the result of a process deriving from our being embodied in the world. Landscape is embodied cognition produced by our subjectivity, which, in turn, constantly hybridises the relationship between inside and outside. The key point, therefore, is to grasp and problematise the interaction between landscape and mindscape. However, this relationship would not be complete without also taking (...) into account the fact that we are integrated in an environment and analysing the fact that we live in an acted environment: our actions are decisive for understanding the environment beginning from the very perception we have of it. Indeed, this perception it itself a true founding act. The specific nature of the walkscape thus allows us to take this dynamic aspect of our relationship with the environment into account before grasping the last fundamental element for achieving a complete understanding of the problem: the currently ongoing transformation that brings us to be immersed not only in natural environments, but also in new digital environments. Taken together, therefore, the concepts of landscape, mindscape and walkscape allow us to clarify the theoretical implications of our being part of an integrated system together with the environment, be it natural or digital. (shrink)

This essay investigates the dichotomy between appearance and reality. We will look into some emblematic examples, like the Müller-Lyer optical illusion and the Gelb effect, in order to show how a careful phenomenological analysis overcomes all forms of dualism about the experience of the external world. The aforementioned phenomenological approach is based on immediate experience and, more broadly, contributes to the methodology of experimental phenomenology.

This article is based on Gibson’s “experimental phenomenology” and ecological perspective. It aims to develop Merleau-Ponty’s concept of “incarnate” by relating it to the more general concept of “illusion” in order to apply it to digital environments and immersive virtual realities. First of all, we should clarify, from a phenomenological point of view, the notion of “world.” Although the concept of “world” is closely linked to that of “reality,” it cannot be superimposed on it. We will analyze this distinction by (...) focusing on specific cases of optical-geometric illusions and their ontological and epistemological implications. We will then extend them from the natural to the digital world. (shrink)

The following essay, perceptological in character, has a twofold goal: firstly, to show how the method devised by Magritte – which aims at making a thing visible – is grounded on the rules and the modalities of phenomenical giveness. Secondly, to suggest that the perceptual analysis of artworks sheds light on the nature of pictorial representation. Hence, the proposal is about the relationship between perception and image: one’s idea of perception guides the results of one’s theoretical enquiry. The present analysis (...) is based on a phenomenological (experimental) approach, with a special attention for the Gestalt tradition and the notion of immediate experience. In sight of this, Magritte’s theoretical thought will be reprised without any pretension of exhaustiveness: we are just interested in his praxis, in his methodology. For this reason, our reflection on the phenomenical appearance of the thing will not take into account the Magrittes’ underlying metaphysics. (shrink)

Summary In this essay we seek to clarify the meaning and theoretical implications of the statement by Merleau-Ponty contained in his 1953 course, Le Monde Sensible et le Monde de l’Expression, according to which movement is ‘revealing of being’. This analysis takes up and comments on chapter 7 of Koffka’s Principles of Gestalt Psychology (dedicated to the issue of movement) and related experiments in particular. We will show that Merleau-Ponty’s idea of ontology of movement emerges from his examination of several (...) exemplary cases. This method of analysis brings to light an idea of similar phenomenology compatible with an experimental phenomenology. (shrink)

In this volume, we present a collection of writings each offering their own novel perspective with respect to question of realism. No doubt it has gathered much attention of recent philosophical debates; and one of its characteristic aspects, among those it has had a most notable impact, has been in blurring the more the rigid way of thinking the traditional demarcations between "continental" and "analytic" philosophy. This volume, then, offers a contribution to some of the many discussions on realism not (...) only in the spirit that there is still much more to be said on the matter, but also in the recognition that a renewal of the discussion is necessary and should bypass old divisions. This is not to say that this volume departs entirely from any "old" sort of realism, or uncritically treats its object of study as creatable ex nihilo. Far from that, it moves from a broadly shared conviction that, if we are to re-position realism and see its present or future as not yet set into stone--that is, a way in which reality "must be" more than just be--a certain historicism cannot be left out of the picture of realism. (shrink)

The following essay, perceptological in character, has a twofold goal: firstly, to show how the method devised by Magritte – which aims at making a thing visible – is grounded on the rules and the modalities of phenomenical giveness. Secondly, to suggest that the perceptual analysis of artworks sheds light on the nature of pictorial representation. Hence, the proposal is about the relationship between perception and image: one’s idea of perception guides the results of one’s theoretical enquiry. The present analysis (...) is based on a phenomenological (experimental) approach, with a special attention for the Gestalt tradition and the notion of immediate experience. In sight of this, Magritte’s theoretical thought will be reprised without any pretension of exhaustiveness: we are just interested in his praxis, in his methodology. For this reason, our reflection on the phenomenical appearance of the thing will not take into account the Magrittes’ underlying metaphysics. (shrink)