10 May 2021
Embodied simulation and experimental aesthetics
17 November 2022
2022/23 Multisensoriality
104
Prova

prova

31 May 2022
2022 Presence
98
Virtual reality and pictorial seeing
19 May 2022
2022 Presence
98
Osaka ’70 VR Experience
4 May 2022
2022 Presence
98
The “Banal” Deception of Digital Presence

Projecting Life onto Media and Machines, from Turing to Siri

10 March 2022
2022 Presence
98
Towards a Science of Complex Experiences
17 February 2022
2022 Presence
98
From screen to body
31 May 2021
2021 Interactivity
97
Experiencing with images

An aesthetic approach to interactivity

24 May 2021
2021 Interactivity
97
Scaffolding the Interactive Imagination

Strategies for Designing the Complex Cognitive Spaces of Digital Storytelling

22 April 2021
2021 Interactivity
97
Enmeshing cloth with emotions through smart textiles and the role philosophy can play in the introduction of digital technologies
8 April 2021
2021 Interactivity
97
Design of multisensory experiences in VR/AR
29 March 2021
2021 Interactivity
97
Cognition as Interaction

Autopoiesis, Media, Networks

29 November 2019
2018/2019 Avatar
95
E pur si move!

Motion-based illusions and the complexity of perceptual content

9 May 2019
2018/2019 Avatar
95
Avatar in gioco: tra scelte ed esperienze
26 April 2017
2016/2017 Immersion
75
A frame of mind

Oltre il confine della tela per entrare nell'opera

research: Seminar

2021 Interactivity
97

Embodied simulation and experimental aesthetics

By exploiting the empirical approach of neuroscience and physiology, we can investigate the brain-body mechanisms enabling our interactions with man-made images, shedding light on the functional mechanisms enabling their perceptual experience. In so doing we can deconstruct some of the concepts we normally use when referring to aesthetics and art. According to Hans Gumbrecht (2004), aesthetic experience involves two components: one deals with meaning, the other one with presence. The notion of presence entails the bodily involvement of image beholders through a synesthetic multimodal relationship with the artistic/cultural artifact.

I will present some results of our research showing that the creative expressive processes characterizing our species, in spite of their progressive abstraction and externalization from the body, keep their bodily ties intact. Creative expression is tied to the body not only because the body is the instrument of creative expression, but also because it is the main medium allowing its experience.

research: seminar

Embodied simulation and experimental aesthetics

By exploiting the empirical approach of neuroscience and physiology, we can investigate the brain-body mechanisms enabling our interactions with man-made images, shedding light on the functional mechanisms enabling their perceptual experience. In so doing we can deconstruct some of the concepts we normally use when referring to aesthetics and art. According to Hans Gumbrecht (2004), aesthetic experience involves two components: one deals with meaning, the other one with presence. The notion of presence entails the bodily involvement of image beholders through a synesthetic multimodal relationship with the artistic/cultural artifact.

I will present some results of our research showing that the creative expressive processes characterizing our species, in spite of their progressive abstraction and externalization from the body, keep their bodily ties intact. Creative expression is tied to the body not only because the body is the instrument of creative expression, but also because it is the main medium allowing its experience.

10 May 2021
18:15
19:30

Online

Embodied simulation and experimental aesthetics
Online
20210510
18:15
19:30