Dissertations / Theses on the topic 'Phenomenology of Perception'
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Ziobro, Regan Michel. "PHENOMENOLOGY and AMBIGUITY: physical perception of indefiniteness." Thesis, Virginia Tech, 2010. http://hdl.handle.net/10919/34716.
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I wanted to devote a year of my life toward creating a building and participating in a body of research that was meaningful. My goal proved to be much more complex than originally thought, for meaning itself is ambiguous. Although ambiguous, meaning is not without definition: it is bounded by the contingency of our â cogitoâ or horizons of experience. And so I argue that if we assign meaning through a function of self reflection, than perahps a shared experience may transcend the self and reflect community. In an attempt to fertilize community through the built environment, I designed a Charter School on the abandoned 1400 block of Walnut Street in the Over-the-Rhine neighborhood of Cincinnati, Ohio.Master of Architecture
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Adamson, Timothy. "Measuring flesh : a phenomenology of bodily perception /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3061930.
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Hilger, James Daniel. "Contour integration and interpolation geometry, phenomenology, and multiple inputs /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1973074431&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Gieser, Thorsten. "Experiencing the lifeworld of Druids : a cultural phenomenology of perception." Thesis, Available from the University of Aberdeen Library and Historic Collections Digital Resources, 2008. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=25168.
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Strukus, Wanda. "Unidentified performing objects : perception, phenomenology, and the object as actor /." Thesis, Connect to Dissertations & Theses @ Tufts University, 2003.
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Thesis (Ph.D.)--Tufts University, 2003.Adviser: Laurence Senelick. Submitted to the Dept. of Drama and Dance. Includes bibliographical references (leaves 302-306). Access restricted to members of the Tufts University community. Also available via the World Wide Web;
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Tang, Nicole K. Y. "Distorted perception of sleep in insomnia : phenomenology, mechanisms and intervention." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288523.
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Russell, Michael L. "The Phenomenology of Harmonic Progression." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703408/.
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This dissertation explores a method of music analysis that is designed to reflect the phenomenology of the listening experience, specifically in regards to harmony. It is primarily inspired by the theoretical approaches of the music theorist Moritz Hauptmann and by the writings of philosopher Edmund Husserl.
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Yang, Weilu. "Moments of Absence Phenomenology of Perception in Representing the Absent Moments." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1397737336.
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Tauber, Justin. "Reading Merleau-Ponty: Cognitive science, pathology and transcendental phenomenology." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/1965.
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This thesis explores the evolution of the way the Phenomenology of Perception is read for the purpose of determining its relevance to cognitive science. It looks at the ways in which the descriptions of phenomena are taken to converge with connectionist and enactivist accounts (the "psychological" aspect of this reading) and the way Merleau-Ponty's criticisms of intellectualism end empiricism are treated as effective responses to the philosophical foundations of cognitivism. The analysis reveals a general assumption that Merleau-Ponty's thought is compatible with a broadly naturalistic approach to cognition. This assumption has its roots in the belief that Merleau-Ponty's proximity to the existential tradition is incompatible with a commitment to a genuine transcendental philosophical standpoint. I argue that this suspicion is unfounded, and that it neglects the internal structure of the Phenomenology. Merleau-Ponty's criticism of classical forms of transcendental philosophy is not a rejection of that tradition, but instead prompts his unorthodox use of pathological case-studies. For Merleau-Ponty, this engagement with pathology constitutes a kind of transcendental strategy, a strategy that is much closer to Husserl's later work than is commonly acknowledged. The thesis also demonstrates a different mode of engagement with cognitive science, through a critical encounter with John Haugeland's transcendental account of the perception of objects. Confronting his account with the phenomenon of anorexia, I challenge him to differentiate his notion of an existential commitment from the anorexic's pathological over-commitment to a particular body image. Merleau-Ponty's account does not suffer from the same problems as Haugeland's because transcendence is not construed in terms of independence, but in terms of the fecundity and inexhaustibility of the sensible. I attempt to articulate Merleau-Ponty's own notion of a pre-personal commitment through the metaphor of invitation and show how this commitment and the Husserlian notion of open intersubjectivity can shed light on the anorexic's predicament.
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Tauber, Justin. "Reading Merleau-Ponty: Cognitive science, pathology and transcendental phenomenology." Faculty of Arts, Department of Philosophy, 2007. http://hdl.handle.net/2123/1965.
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Master of Philosophy (Dept. of Philosophy)This thesis explores the evolution of the way the Phenomenology of Perception is read for the purpose of determining its relevance to cognitive science. It looks at the ways in which the descriptions of phenomena are taken to converge with connectionist and enactivist accounts (the "psychological" aspect of this reading) and the way Merleau-Ponty's criticisms of intellectualism end empiricism are treated as effective responses to the philosophical foundations of cognitivism. The analysis reveals a general assumption that Merleau-Ponty's thought is compatible with a broadly naturalistic approach to cognition. This assumption has its roots in the belief that Merleau-Ponty's proximity to the existential tradition is incompatible with a commitment to a genuine transcendental philosophical standpoint. I argue that this suspicion is unfounded, and that it neglects the internal structure of the Phenomenology. Merleau-Ponty's criticism of classical forms of transcendental philosophy is not a rejection of that tradition, but instead prompts his unorthodox use of pathological case-studies. For Merleau-Ponty, this engagement with pathology constitutes a kind of transcendental strategy, a strategy that is much closer to Husserl's later work than is commonly acknowledged. The thesis also demonstrates a different mode of engagement with cognitive science, through a critical encounter with John Haugeland's transcendental account of the perception of objects. Confronting his account with the phenomenon of anorexia, I challenge him to differentiate his notion of an existential commitment from the anorexic's pathological over-commitment to a particular body image. Merleau-Ponty's account does not suffer from the same problems as Haugeland's because transcendence is not construed in terms of independence, but in terms of the fecundity and inexhaustibility of the sensible. I attempt to articulate Merleau-Ponty's own notion of a pre-personal commitment through the metaphor of invitation and show how this commitment and the Husserlian notion of open intersubjectivity can shed light on the anorexic's predicament.
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Smyth, Bryan Alan. "On the problem of Exupérian heroism in Merleau-Ponty's phenomenology of perception." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102175.
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In this dissertation I seek to ascertain why Merleau-Ponty concludes his Phenomenology of Perception with lines drawn from Saint-Exupery's Pilote de guerre. This ending has received no critical scrutiny in the literature on Merleau-Ponty. Yet it is quite puzzling; for the content of the cited passage is antithetical to the philosophical thrust of Merleau-Ponty's work. And yet, it is linked to the idea of 'the realization of philosophy'. Given that this idea constitutes the guiding impetus of Merleau-Ponty's existential phenomenology, a comprehensive understanding of Merleau-Ponty's project requires coming to terms with the role of Saint-Exupery within it.To this end, I examine the major themes of Saint-Exupery's work, in particular the 'cosmic humanism' of Pilote de guerre, showing that this is based on a spiritual account of self-sacrificial action. I then reconstruct the core of Merleau-Ponty's existential phenomenology as a 'militant' philosophy, focusing my analysis around the notion of 'human productivity'. On this basis, I provide a detailed reading of Merleau-Ponty's essay "Man, the Hero" in terms of post-Hegelian philosophy of history, and I provide a detailed comparison of Saint-Exupery and Merleau-Ponty with regard to truth and freedom.
This analysis reveals that heroism for Merleau-Ponty is the manifestation of pure human productivity and, as such, is a phenomenally objective purposiveness. Drawing on Kant's third Critique, I conclude that the rationale for Merleau-Pontian heroism is to furnish sensory evidence attesting to the possibility of a solution to the human problem. Through the concept of the hero, or of heroic purposiveness, we are able to cognize the potential suitability of the natural world for the realization of human reconciliation. The hero is thus the linchpin of Merleau-Ponty's teleology of consciousness, and of the transcendental project that hinges on this teleology.
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Laasik, Kristjan. "Fulfillment in Perception: A Critique of Alva Noë’s Enactive View." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/689.
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In an apparently original and radical departure from mainstream ideas, Alva Noë argues that perception does not involve inner representations but needs to be regarded a kind of active engagement with the environment. According to Noë’s enactive view, visual perception requires “sensorimotor knowhow”: the perceiver needs to have certain perceptual skills and expectations. In his influential book Action in Perception, Noë develops the enactive view as solution to the “problem of perceptual presence,” the problem of how to conceive of “the presence of that which, strictly speaking, I do not perceive” (Noë 2004, p. 60). According to Noë, the problem arises in various cases, e.g., the unattended parts of the perceptual scene, as well as objects’ back sides. Noë argues that it can be solved by appeal to the idea of sensorimotor knowhow. In a challenge to Noë, I argue for the thesis that his enactive view, as he states it in Action in Perception, does not succeed in solving or even adequately motivating the problem of perceptual presence, unless a Husserlian strand in his view is complemented by further Husserlian notions, especially fulfillment. For example, Noë has difficulty establishing that there even is a problem concerning the presence of the object’s back side. The prevalent view is that the object’s back sides are not perceptually present, i.e., they are not, in any sense, seen by the perceivers, and Noë has offered no argument to the contrary. Noë’s problem of perceptual presence is, in fact, ambiguous: there are two quite different problems and it takes quite different resources to solve them. First, there is the problem that the unattended parts of the perceptual scene may not be genuinely present to us: Noë presents us with empirical data which suggest that what seems to be plainly in view can be, “strictly speaking,” not seen by us. We may be subject to an illusion when we regard ourselves as having experience of the entire detailed scene. But Noë argues that the entire scene is genuinely present in the sense that it is readily accessible, by shifting one’s attention or making eye movements. Second, in cases like the object’s back side we are dealing with a different problem altogether. Noë concedes that the back side is not, “strictly speaking,” seen by the perceiver. Nevertheless, he argues, it is perceptually present, giving rise to the problem of how to account for its perceptual presence. Noë’s solution is that it is present by virtue of our having perceptual expectations about it. Notice that we cannot appeal to possible access to solve this problem: it may be impossible for the perceiver, say, to go round a house, to take a look. Husserl is centrally concerned with the latter problem, and the view Noë develops to solve it is rightly interpreted as a sketch of Husserl’s view, but it needs to be complemented with the crucial idea of fulfillment. When I look at an object, I experience the front side differently from the back side. This phenomenal difference can be captured by calling the experience of the front side “intuitive” and the experience of the back side “empty.” When I turn the object around, there is fulfillment, i.e., what was experienced emptily comes to be experienced intuitively. The back side can be regarded as perceptually present in the sense that we can have fulfillments (or disappointments) with regard to it. Husserl investigates perceptual content as determining fulfillment conditions, and not as determining accuracy conditions, as in the mainstream views. He engages in a kind of conceptual analysis, e.g., of the concept of shape or color, by investigating the fulfillment conditions pertinent to shape or color. Noë’s perceptual expectations are part of the Husserlian framework: they function to set the fulfillment conditions. Noë has given us parts and aspects of a comprehensive Husserlian framework. I aim to contribute to our understanding of it, and thereby of Noë’s enactive view.
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Kelly, Sean D. "The relevance of phenomenology to the philosophy of language and mind /." New York : Garland, 2001. http://catalogue.bnf.fr/ark:/12148/cb37646436r.
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Steiner, Robin Thomas. "A Phenomenology of Taste: Brewmasters and the production of lived taste experience." Thesis, The University of Arizona, 2009. http://hdl.handle.net/10150/193394.
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Using a phenomenological account of perception drawn largely from the work of Merleau-Ponty (1962) and Gibson (1966; 1974), this thesis explores how perceptual experience is created and modified through practices and discourses. The project examines how a specific perceptual experience--the taste of beer--is formed through the practices and discourses of production. It investigates how both the nuanced taste experiences of brewmasters and the less precise taste experiences of their customers are cultivated in relation to a set of production concerns surrounding the manufacture of a consistent brand. Ultimately, it is argued that the production of brands--the urge to produce products which are identical to themselves--is a characteristic of consumer-oriented late capitalism which illustrates how mechanical reproduction influences the formation of contemporary sensory experiences and lifeworlds.
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Thompson, Julia. "A Sense of Time, A Sense of Self: The 'Lived Perspective' of the Walk." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/32508.
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Much of the walking that we do in our daily lives is dull, but sometimes, unexpectedly, it can be revelatory. During these moments, through what phenomenologist Maurice Merleau-Ponty calls the â lived perspectiveâ of walking, we experience a merging of our inner and outer worlds and achieve greater self-awareness.
Although most of our experience in the landscape is through movement, we rarely design for such spaces. Using the hypothesis that terrorist threats and an aging infrastructure may lead to the rerouting of the CSX Railway south of Washington, D.C., shutting down the existing line, I propose to convert the CSX Railway bridge that crosses the Anacostia River in Southeast Washington to an open public space. While other portions of the track may be demolished and returned to the wide avenues envisioned by Lâ Enfant or renovated as trolley tracks, the CSX bridge could be renovated to provide a link between the neighborhood of Capitol Hill and the Anacostia River through a pedestrian walkway.
The methodology I use to explore this thesis is two-fold. I study several environments, from site-specific artworks to monuments to large urban parks. I also study fields that explore the experiential nature of perception such as art and philosophy, and use the freedom of expression that drawing allows as a tool to inform the design of spaces that can enable us to experience a state in which our mind, body, and vision are intertwined.Master of Landscape Architecture
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Macrae, David J. R. "The sensory screen : phenomenology of visual perception in early European avant-garde film." Thesis, University of Edinburgh, 2003. http://hdl.handle.net/1842/28518.
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At the beginning of the twentieth century, certain artists, writers, and philosophers became intrigued by the profound ways in which filmic images could pervade aspects of modern thought and experience. For them, film had the potential to reveal radical new dimensions of sensory phenomena. The early development of avant-garde film-making in Europe is culturally crucial not only for its historical and conceptual context of creative transition, but also for its dynamic exploration of processes of visual perception. The central objective of this thesis is to expose and engage these profound perceptual issues. The structural formation of the thesis entails the confluencing of material for analysis into a sequence of key areas comprising the central components of avant-garde cinematic visualisation. The visual implications of each area are analysed in specific depth, whilst acknowledging their respective interactivity. Significantly, the research applies analytic theories of phenomenology in order to focus incisively upon relevant early European avant-garde filmic imagery. The potential vitality of a phenomenological theorisation of early avant-garde film resides not only within their historical contemporaneity, but at the epistemological level of the mind’s cognitive engagement with the realms of creative visualisation. It is a system of analysis which aims to establish a nuanced phenomenological theory of visual perception as a matter of prime sustenance to historically crucial cinematic art forms.
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Ausperk, Ryan. "Phenomenology, Imagination, and Aesthetic Experience." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1398270498.
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Lind, Erik. "The Rhythm of Expression : Merleau-Ponty's Phenomenology of Form." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-39091.
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The intent of this essay is to shed light on the relevance and meaning of the concept of ”form” in Merleau-Ponty’s phenomenology. Drawing on his early texts as well as on the published notes of his first course held at the Collège de France, we argue that the notion of form essentially carries two meanings in the thought of the philosopher. One epistemological, stating that the perceived always assumes the figure-ground structure (signifying a figurative dimension of form). Another ontological according to which form designates the originary manifestation of the world in the event of expression (signifying a genetic dimension of form). Finally, we argue that the interplay of these two dimension of form lead Merleau-Ponty to an intuitive understanding of rhythm as the sensible manifestation of form, suggesting a potentially fruitful encounter, converging upon this notion, with the thought of Henri Maldiney.
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Morris, David. "The sense of space, an essay on spatial perception and embodiment in the spirit of Merleau-Ponty's Phenomenology of perception." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ27700.pdf.
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Rizo-Patrón, de Lerner Rosemary. "The Overcoming of Representationalism and Immanentism at the Genesis of Husserl’s Phenomenology of Perception." Pontificia Universidad Católica del Perú - Departamento de Humanidades, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/112981.
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Husserl’s overcoming of the Modern representationalist and immanentist notions of consciousness and knowledge is tied to the early development of his sui generis concept of intentionality. This development is the result of logical and psychological studies, the latter laying open different modalities of intuition: the founded modes –eidetic and categorial– and the sensible founding modes, all of which presuppose the most basic and founding mode –that of perception. Although the Husserlian concept of intentionality is determined by Husserl’s discovery of ideality” in his logicsemantic investigations, no less relevant are Husserl psychological studies and the early development of a non-representationalist notion of perception. This paper will attempt to highlight some salient features of Husserl’s early phenomenology of perception and its overcoming of representationalism.La superación husserliana de las nociones representacionalistas e inmanentistas modernas de conciencia y conocimiento está atada al desarrollo temprano de su concepto sui generis de intencionalidad. Este desarrollo es fruto, a su vez, tanto de investigaciones lógicas como psicológicas, estas últimas dando paso a distintas formas de intuición: las formas fundadas –eidética y categorial– y las fundantes sensibles, todas las cuales presuponen el tipo básico y fundante –la percepción misma. Si bien el concepto de intencionalidad husserliano está determinado por el descubrimiento de la idealidad” en investigaciones lógico-semánticas, no menos relevante es el papel de las investigaciones psicológicas de Husserl y el desarrollo temprano de su noción no representacionalista de percepción. Este texto intentará echar luces sobre ciertos rasgos de la temprana fenomenología de la percepción de Husserl y su superación del representacionalismo.
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Rizo-Patrón, de Lerner Rosemary. "The Overcoming of Representationalism and Immanentism at the Genesis of Husserl's Phenomenology of Perception." Pontificia Universidad Católica del Perú - Departamento de Humanidades, 2013. http://repositorio.pucp.edu.pe/index/handle/123456789/113173.
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Husserl's overcoming of the Modern representationalist and immanentist notions of consciousness and knowledge is tied to the early development of bis sui generis concept of intentionality. This development is the result of logical and psychological studies, the latter laying open different modalities of intuition: the founded modes -eidetic and categorial- and the sensible founding modes, all of which presuppose the most basic and founding mode -that of perception. Although the Husserlian concept of intentionality is determined by Husserl's discovery of Mideality in bis logic-semantic investigations, no less relevant are Husserl psychological studies and the early developmentof a non-representationalist notion of perception. This paper will attempt to highlight some salient features of Husserl's early phenomenology of perception and its overcoming of representationalism.La superación husserliana de las nociones representacionalistas e inmanentistas modernas de conciencia y conocimiento está atada al desarrollo temprano de su concepto sui generis de intencionalidad. Este desarrollo es fruto, a su vez, tanto de investigaciones lógicas comopsicológicas, estas últimas dando paso a distintas formas de intuición: las formas fundadas -eidética y categorial- y las fundantes sensibles, todas las cuales presuponen el tipo básico y fundante -la percepción misma. Si bien el concepto de intencionalidad husserliana está determinado por el descubrimiento de la Midealidad en investigaciones lógico-semánticas, no menos relevante es el papel de las investigaciones psicológicas de Husserl y el desarrollo temprano de su noción no representacionalista de percepción. Este texto intentará echar luces sobre ciertos rasgos de la temprana fenomenología de la percepción de Husserl y su superación del representacionalismo.
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Palmstierna, Einarsson Charlotta. "Mis-Movements : The Aesthetics of Gesture in Samuel Beckett's Drama." Doctoral thesis, Stockholms universitet, Engelska institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-75662.
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This study explores Beckett’s use of physical movements in his plays as part of a strategy to escape the limits of semantic meaning and as an instrument of artistic expression. In a sense, the use of physical movements constitutes a phenomenological, heuristic ‘solution’ to the problem of presentation and representation that Beckett explicitly addresses already in the early 1930s. Drawing out the parallels between Beckett’s dramatic writing and phenomenology, this study seeks to establish the role perception plays in the creative task Beckett set out for himself—namely the realisation of a new means of expression. While Beckett’s careful structuring and de-structuring of movement patterns have not gone unnoticed, the philosophical consequences of Beckett’s ‘assault against words’, has not been fully appreciated. Beckett uses mis-movements not only to ‘desophisticate’ words, but also to expose the means by which the effect of aesthetic perception is produced. This is not to say that mis-movements can be reduced to a set of clear significations—according to Kant “there is no formula that can produce the beautiful”—but to suggest that Beckett uses mis-movements to refocus the audience’s attention on the realm of sensuous perception.
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Antich, Peter A. "MOTIVATION AND THE PRIMACY OF PERCEPTION." UKnowledge, 2017. https://uknowledge.uky.edu/philosophy_etds/19.
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In this dissertation, I provide an interpretation and defense of Merleau-Ponty's thesis of the primacy of perception, namely, the thesis that all knowledge is founded on perceptual experience. I take as an interpretative and argumentative key Merleau-Ponty's phenomenological conception of motivation. Whereas epistemology has traditionally accepted a dichotomy between reason and natural causality, I show that this dichotomy is not exhaustive of the forms of epistemic grounding. There is a third type of grounding, the one characteristic of the grounding relations found in perception: motivation. I argue that introducing motivation as a form of epistemic grounding allows us to see how Merleau-Ponty's thesis of the primacy of perception avoids both rationalism and empiricism. Whereas empiricism has argued that all the content of our knowledge is grounded in causal interactions between the world and our senses, and rationalism has held that experience does not suffice as a reason for knowledge, thinking of the relation between experience and knowledge in terms of motivation allows us to see how knowledge can be grounded in experience while at the same time transcending it.
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BODART, AARON MICHAEL. "ECLECTIC ARCHITECTURE." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1053375336.
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Masrour, Shalmani Farid. "Structuralism: In Defense of a Kantian Account of Perceptual Experience." Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/193980.
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My dissertation develops and defends a broadly Kantian account of perceptual experience. I call this account structuralism. Put briefly, the account holds that perceptual experience has a structure that is the manifestation of its priori content. I defend this account by showing that it provides a unified framework for understanding perceptual intentionality.I develop and defend structuralism by defending three theses. The first thesis is phenomenological. According to this thesis, perceptual experience has proprietary perceptual phenomenal intentionality only if it has a unity structure. I explicate the idea of the unity structure of experience in the process of defending this thesis. The second thesis is epistemic. Put roughly, this thesis holds that perceptual experience provides reasons for perceptual beliefs only if it has a priori content. I develop an account of the a priori content of perceptual experience in the process of defending this thesis. The third thesis unifies the phenomenological and the epistemic theses. According to this thesis, the dynamical unity structure of perceptual experience is the phenomenological manifestation of its a priori content. These three these, in conjunction with some plausible ideas provide a systematic account of perceptual intentionality.
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Bartel, Christopher John. "The perception of music : an essay on musical understanding, phenomenology and the contents of musical experience." Thesis, King's College London (University of London), 2007. https://kclpure.kcl.ac.uk/portal/en/theses/the-perception-of-music--an-essay-on-musical-understanding-phenomenology-and-the-contents-of-musical-experience(7a57cb60-75ef-4780-9b1b-43d774d33c3c).html.
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Elkington, Trevor G. "Moments in space, spaces in time : phenomenology and the embodied depth of cinematic image /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/6621.
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Crehan, Eileen Tara. "The Stare-In-The-Crowd Effect: Phenomenology, Psychophysiology, And Relations To Psychopathology." ScholarWorks @ UVM, 2016. http://scholarworks.uvm.edu/graddis/542.
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The eyes are a valuable source of information for a range of social processes. The stare-in-the-crowd effect describes the ability to detect self-directed gaze. Impairment in gaze detection mechanisms, such as the stare-in-the-crowd effect, has implications for social interactions and development of social relationships. Given the frequency with which humans utilize gaze detection in interactions, there is a need to better characterize the stare-in-the-crowd effect. This study utilized a previously validated dynamic visual paradigm to capture the stare-in-the-crowd effect. We compared typically-developing (TD) young adults and young adults with Autism Spectrum Disorder (ASD) on multiple measures of psychophysiology, including eye tracking and heart rate monitoring. Four conditions of visual stimuli were presented: averted gaze, mutual gaze, catching another staring, and getting caught staring. Eye tracking outcomes and arousal (pupil size and heart rate variability) were compared by diagnosis (TD or ASD) and condition (averted, mutual, catching another staring, getting caught staring) using repeated measure ANOVA. Significant interaction of diagnosis and condition was found for IA dwell time, IA fixation count, and IA second fixation duration. Hierarchical regression was used to assess how dimensional behavioral measures predicted eye tracking outcomes and arousal; only two models with advanced theory of mind as a predictor were significant. Overall, we demonstrated that individuals with ASD do respond differently to various gaze conditions in similar patterns to TD individuals, but to a lesser extent. This offers potential targets to social interventions to capitalize on this present but underdeveloped response to gaze. Implications and future directions are discussed.
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Molotokienė, Ernesta. "The problem of relation between perception and imagination in Husserl’s philosophy." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20121001_094157-12435.
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In the Western philosophy, the perception, in comparison with imagination, traditionally receives exceptional attention. Already antiquity thinkers attributed a privileged status to perception as the mind’s capability most closely approached to the cognition of reality with regard to other forms of the mind. Imagination episodically loomed just in the periphery of the history of philosophy, however, even in such circumstances imagination was understood not only as „imperfect“ perception, but also as radically different and unique capability of consciousness. However, until Edmund Husserl, no comprehensive research of the imagination phenomena while revealing the fundamental ratio of perception and imagination had not been performed.The phenomenological description of the experiences of consciousness „legalizes“ imagination and from now its active prosecution starts: tracing imaginative traces it becomes clear that imagination has tangled all experiences of consciousness while staying in the shadow of consciousness, unreachable for reflection. Therefore it is logical that imaginary traces are seen most clearly where the shelter of imagination is expected in the least degree – in the field of perception. Researching the acts of perception and imagination phenomenologically, it becomes clear that the privileged position of perception and the claim to the authenticity of cognition is demolished by imagination, neutralizing the claims of all experiences to the authenticity... [to full text]Vakarų filosofijoje suvokimui, lyginant su vaizduote, tradiciškai buvo skiriamas išskirtinis dėmesys. Jau Antikos mąstytojai suvokimui kaip labiausiai prie tikrovės pažinimo priartėjančiam proto gebėjimui skyrė privilegijuotą statusą kitų proto formų atžvilgiu. Vaizduotė epizodiškai šmėstelėdavo tik filosofijos istorijos periferijoje, tačiau net ir tokiomis aplinkybėmis vaizduotė buvo suprantama ne tik kaip „netobulas“ suvokimas, bet ir kaip radikaliai skirtingas, unikalus sąmonės gebėjimas. Vis dėlto iki Edmundo Husserlio išsamus vaizduotės fenomeno tyrimas, atskleidžiant fundamentalų suvokimo ir vaizduotės santykį, nebuvo atliktas.Fenomenologinis sąmonės patirčių aprašymas „legalizuoja“ vaizduotę ir nuo šiol prasideda intensyvus jos persekiojimas: sekant vaizduotiškais pėdsakais, paaiškėja, kad vaizduotė yra apraizgiusi visus sąmonės išgyvenimus, pati išlikdama refleksijai nepasiekiamame sąmonės šešėlyje. Todėl, logiška, kad aiškiausiai vaizduotiški pėdsakai matomi ten, kur, regis, vaizduotės slėptuvės mažiausiai tikimasi – suvokimo lauke. Fenomenologiškai tiriant suvokimo ir vaizduotės aktus, paaiškėja, kad privilegijuotą suvokimo poziciją ir pretenziją į pažinimo tikrumą sugriauna vaizduotė, neutralizuodama visų išgyvenimų pretenzijas į tikrumą, todėl suvokimas tampa tik viena iš tikrumo galimybių, praktiškai niekuo nesiskiriančia nuo galimo vaizduotiškos tikrovės supratimo. Suvokimo ir vaizduotės santykis yra problemiškas: viena vertus, vaizduotė yra radikaliai... [toliau žr. visą tekstą]
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Rolland, Cathy. "La connaissance des entraineurs experts en gymnastique artistique entre perception de formes et intelligibilité pratique." Thesis, Clermont-Ferrand 2, 2011. http://www.theses.fr/2011CLF20057.
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Cette recherche porte sur l’analyse de l’activité des entraîneurs experts en gymnastique artistique et vise à décrire et comprendre les ressources cognitives sur lesquelles ils s’appuient pour intervenir auprès des gymnastes et transformer leurs habiletés. Une épistémologie de l’agir professionnel en rupture avec le modèle classique de la rationalité technique a offert le cadre de l’étude des connaissances implicites, façonnées par l’expérience de travail.Une démarche compréhensive et située, respectueuse des conditions d’exercice du métier d’entraîneur a été adoptée. L’anthropologie cognitive a servi d’ancrage disciplinaire, dans la mesure où l’intérêt s’est porté sur les processus cognitifs enchâssés dans les activités humaines. L’ancrage épistémologique de la phénoménologie a été choisi comme renforcement de la démarche compréhensive. Le cadre théorique de l’étude est celui de l’action située.Le terrain de l’étude est celui de l’entraînement sportif de haut niveau : un club sportif de niveau national, ainsi que deux Pôles France d’entraînement de la Fédération Française de Gymnastique (FFG). Deux entraîneurs féminins et douze entraîneurs masculins ont été suivis pendant trois ans au cours de leur activité professionnelle auprès de gymnastes de haut niveau âgés de 7 à 23 ans. Deux types de matériaux complémentaires ont été élaborés : i) Des données d’observation du flux de comportements des entraîneurs ; ii) Des verbalisations réflexives produites par l’entraîneur au cours d’entretiens en cours, ou post-entraînements. Une méthodologie d’ « instruction au pair » a été développée, intermédiaire entre la technique de l’instruction au sosie et l’observation participante. Les matériaux recueillis ont fait l’objet d’une analyse qualitative inductive selon la méthode de comparaison continue afin de produire des résultats théoriques intégrés aux matériaux recueillis. L’étude a permis d’avancer en matière de théorisation de la connaissance pragmatique des entraîneurs experts en gymnastique artistique.Les résultats montrent que les entraîneurs experts interviennent auprès des gymnastes sur des éléments discrets des habiletés gymniques. Ce sont des formes de corps spatialement situées qu’ils nomment phases de placement et qu’ils considèrent comme critiques pour la réussite. Ces formes transitoires dynamiques pour les entraîneurs sont des composantes chronologiques ordonnées de formes plus complexes. Elles organisent l’activité perceptive en focalisant l’attention des entraîneurs sur elles ou certains aspects les composant. Les entraîneurs interviennent auprès des gymnastes sur les propriétés physionomiques et intentionnelles qu’ils leur assignent. L’identification de ces phases par les entraîneurs apparaît comme une composante des processus par lesquels ils se rendent intelligible l’activité des gymnastes réalisant les habiletés gymniques. L’étude a permis de mettre en évidence quatre résultats majeurs concernant cette intelligibilité : a) elle repose sur des formes de corps perçues. Ces formes constituent des totalités signifiantes qui condensent un réseau de relations causales entre les propriétés des phases. Elle repose donc sur un ordre causal simplificateur de la complexité ; b) elle est métaphorique. Elle repose sur un modèle d’intelligibilité analogique implicite ; c) elle est située. Elle repose sur une gestalt expérientielle de la causalité qui permet l’énaction de propriétés typiques des phases de placement en fonction de leur pertinence dans l’action située ; d) il s’agit d’une intelligibilité « bricolée », provisoire, reposant en partie sur des hypothèses interprétatives testées en situationThis study aims to investigate the expert coaches’ activity. More exactly, it attempts to describe and understand the knowledge being used by coaches while teaching and correcting the athletes’ technical skills in high level artistic gymnastics. An epistemology of professional practice, in break with the model of technical rationality, offers an approach to study the implicit knowledge, shaped by the working experience.A comprehensive and situated approach, respectful of the working conditions of the coaches, was chosen. The disciplinary anchor is cognitive anthropology. The theoretical framework for this research is situated action theory.The field of study is high level sport training: an association of national level and two national training structures of high level, managed by the French Federation of Artistic Gymnastics (FFG). Two expert female coaches and twelve expert male coaches were observed for three years during their professional practice with elite gymnasts aged seven to twenty-three years old. Two types of complementary data were elaborated: i) Data regarding the behavior of coaches during their practice; ii) Reflexive verbalizations by the coaches interviewed during or after the training sessions. The research methodology drew on participant observation and the technical "instructions to the double". It is called "instructions to the pair". The research materials collected were analyzed by means of inductive qualitative analysis and with comparison continuous method. The theoretical results appear through creating and conceptualizing categories identified from research data. They offered the possibility to theorize gymnastics expert coaches’ pragmatic knowledge. The results reveal that expert coaches’ interventions concern elements which compose gymnastic skills. These elements are body shapes spatially located, which are described as "placement phases" by coaches. The coaches considerer them as critical to perform the skills. These transitional and dynamic forms for coaches are chronological and ordered components of more complex forms. They organize perceptive activity by focusing the coaches’ attention on them or on certain aspects which compose them. To improve the achievement of skills, the coaches intervene on properties they assign to the phases they consider as critical: physiognomic and intentional properties. The identification of these phases by coaches seems to be a component of the processes by which they make the activity of gymnasts performing skills intelligible.The study indicates four major results for this intelligibility: a) it is based on body shapes seen. These shapes are meaningful wholes that condense a system of causal relationships between the properties of phases. It is based on a causal order that simplifies the complexity; b) it is metaphorical. It is based on an implicit model of analogical intelligibility; c) It is situated. It is based on an experiential gestalt of causation that allows the enaction of typical properties of the phases according to their relevance in situated action; d) it is a tinkered intelligibility, provisional, based in part on interpretative hypotheses tested in situations
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Streit, Desiree. "Learning to Teach-in-Relation: Community Service Learning, Phenomenology, and the Medicine Wheel." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/34220.
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The focus of this phenomenological research project is to delve into the question of ‘what it is like’ for teacher candidates to experience the phenomenon of learning to teach-in-relation in the context of a community service learning project. A sense of the phenomena of learning to teach-in-relation emerges as the five teacher candidates make and play with hula hoops beyond the initial intention of cultivating joyful physical activity on campus. This research is guided by van Manen’s (1997) phenomenological approach to researching lived experience, as well as an Indigenous research framework based on the theoretical and philosophical underpinnings of the medicine wheel. Within the relational and embodied framework of the medicine wheel, the following six significant themes shifted perceptions of what it means to teach: 1) waiting to learn; 2) shaping community; 3) learning in movement; 4) sitting with students; 5) learning with students; and 6) embodying a flexible practice.
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seim, kelly. "A Place to Rest (Dwelling, Shelter, Homelessness and Meaning)." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1306503359.
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Faul, Mark Carleton University Dissertation Sociology and Anthropology. "The Influence of the Internet upon the individual modeling of reality." Ottawa, 1999.
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Bobant, Charles. "Perception et mouvement : Straus, Merleau-Ponty, Maldiney : Le fondement phénoménologique de l'unité de l'esthétique." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H217.
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Cette thèse porte sur l'esthétique au sein de la phénoménologie, et plus particulièrement sur le problème de l'unité de l'esthétique, sur la question de la continuité entre sensibilité et art telle qu'elle est posée dans les philosophies d'Erwin Straus, de Maurice Merleau-Ponty et d'Henri Maldiney. Nous montrons d'abord comment la phénoménologie, en devenant phénoménologie de l'art, reprend et accomplit la philosophie de l'art traditionnelle, retrouvant par-là même ses difficultés et impasses : la subordination de l'art à la philosophie, le primat théorique de l’œuvre d'art sur l'artiste, l'assimilation de l'artiste au génie, la promotion de la peinture et de la littérature et l'exclusion de la danse, l'identification du spectateur à un incréateur. Nous mettons ensuite en évidence le fait que la phénoménologie est irréductible à une philosophie de l'art, qu'elle est aussi une esthétique capable de dépasser les problèmes de la phénoménologie de l'art autant que de l'esthétique classique, intellectualiste et empiriste. Seulement l'esthétique phénoménologique rejoue plutôt qu'elle ne déjoue ces problèmes : l'art et l'artiste demeurent mystérieux, l'esthétique phénoménologique est encore une religion de l'art. C'est pourquoi, enfin, une nouvelle esthétique s'impose – une esthétique cosmologique –, nourrie de la double déconstruction de la phénoménologie de l'art et de l'esthétiquephénoménologique, et dirigée vers l'impératif d'éconduire le mysticisme résurgent des doctrines sur l'art. En somme, ce travail vise à rendre compte philosophiquement, sans mythologie interposée, du phénomène artistiqueThis doctoral dissertation focuses on aesthetics within the phenomenological movement, especially on the problem of the unity of aesthetics, on the question of continuity between sensibility and art as it is formulated in the philosophies of Erwin Straus, Maurice Merleau-Ponty and Henri Maldiney. We start by showing how phenomenology, by becoming a phenomenology of art”, recovers and completes the traditional philosophy of art, thereby rediscovering its impasses and difficulties: the subordination of art to philosophy, the theoretical priority of the work of art over the artist, the assimilation of the artist to a genius, the promotion of painting and literature and theexclusion of dance, the identification of the spectator with an uncreator. We then highlight the fact that phenomenology is irreducible to a philosophy of art, that it is also an aesthetics able to surpass the problems of the phenomenology of art as much as those of classical – intellectualist and empiricist – aesthetics. Nevertheless, “phenomenological aesthetics” updates these problems: art and artist remainmysterious, phenomenological aesthetics is still a religion of art. For this reason, finally, a new aesthetics is necessary – a “cosmological aesthetics” –, nourished by the double deconstruction of the phenomenology of art and phenomenological aesthetics, and directed towards the imperative to erase the resurgent mysticism of doctrines on art. In short, our study intends to explain – philosophically, without mythology – the artistic phenomenon
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Yurtsevich, Aliona. "A General Theory Of Composition: Cross-modal Perception, Sound, Synergy and Meaning in contemporary composition practice." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29487.
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Music extends beyond audibility. We perceive a performance – the work-on-stage – not only sonically but also visually and physically. Bridging science, phenomenology, eastern philosophy and music, A General Theory of Composition explores cross-modal perception and new synergies between musical and non-musical modes of creative expression through the media of sound, composition as a whole, and interdisciplinary research by posing the key-questions: What is SOUND? Where does SOUND begin, and where does it end?
A General Theory of Composition, as a phenomenological investigation, reconfirms that the nature of both artistic practice and our sensory perception is holistic and reciprocally cross-modal. ‘Multi-sensory fluidity’ (Coessens), ‘sonic sensibility’ (Voegelin), ‘sensory substitution’ (McGann), naturally embedded in our modes of perception, suggest that our perception is always ‘embodied’ (Johnson) within its complex interdisciplinary Gestalt – composition as a whole. From this perspective the multisensory human body can be seen to engage meaningfully with the world via cross-modal listening, that promotes multi-sensory, psychosomatic reciprocal exchange between audible-visual-physical modes of perception. From the observation of my own artistic praxis, the holistic perspective of my theory brings forward the view on musical and/or any practice as a ‘lived experience’ (Stein) through theories of The Empathy Theory (Stein), Spheres of Human Essence (Walther), and The Speech Act Theory (Austin). It shares insights that: 1) sound/music, as language, is a phenomenon rooted in the philosophical domain; 2) there is no pure medium – all media are multi-modal, inter-subjective and reciprocally interconnected; 3) through the mode of ‘active listening’, as a means of communication, sound naturally crosses into other domains; 4) our perceptual modes intertwine, synthesise, and co-exist in a synergetic relationship within the complex chamber of our multi-sensory, psychosomatic, physical bodies.
The exegesis is accompanied by two creative works, LIBERATO and SKETCHES, presented in three contextual subdivisions that collectively illustrate the workings of my theory and creative practice: the work-on-stage; cross-modal perception; expanded musical notation.
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Le, Van Curtis Donald. "Interpreting with "All Possible Caution, on Mental Tiptoe": Nabakov's Post-Romantic Renewal of Perception in Lolita." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3201.
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Although presenting the concept of love in a form not accepted by societal conventions does indeed estrange the conception of love in Nabakov's Lolita, it does nothing to explain how readers accept Humbert's passion, without immediately and consistently disregarding it as lewd and inappropriate. I will argue that Nabakov estranges the romantic conceptions not by defamiliarizing the occasion of love (i.e. by making the romance a manifestation of pedophilia), but rather by defamiliarizing and complicating the acts of both reading and interpreting. First, I will make associations between the Romantics and Nabokov, regarding their shared desire to renew the habitual acts of both perceiving and interpreting human life, which they accomplish through methods of isolating the emotions effected by acts--not the acts themselves. After which, I will examine the theories of phenomenology and externalist philosophy to cement the concepts of anticipation and hermeneutics, starting in general and then narrowing to the act of reading. In following, I will demonstrate how Nabokov agitates this anticipation for readers, making the very act of reading Lolita a new experience, in which Romantic themes do not appear cliché and outdated. On the whole, I will maintain that it is this disruption in interpretation that absolves Humbert's ills, allowing Lolita to maintain its status as one of the greatest love stories of the twentieth century.
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Foultier, Anna Petronella. "Recasting Objective Thought : The Venture of Expression in Merleau-Ponty’s Philosophy." Doctoral thesis, Stockholms universitet, Filosofiska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-113278.
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This thesis is about meaning, expression and language in Merleau-Ponty’s philosophy, and their role in the phenomenological project as a whole. For Merleau-Ponty, expression is the taking up of a meaning given either in perception or in already acquired forms of expression, thereby repeating, transforming or congealing meaning into gestures, utterances, artworks, ideas or theories. Contrary to the predominant view in the literature, the relation of expression to meaning, and in particular the problem of expressing new meanings, was of fundamental importance to Merleau-Ponty from the very beginning, in that it was intrinsically related to the overcoming of what he termed “objective thought”. Admittedly, there is an evolution of his philosophy in this respect: from the early stance where the recasting of certain basic categories is taken as pivotal for the development of a new form of thinking, with arguments drawn also from various empirical and social sciences, to what appears to be an effort at an all-pervading reformulation of philosophical language during his last years. But the remoulding of categories was never for Merleau-Ponty a matter simply of finding a few, better adapted concepts, but from the outset an endeavour to think philosophical arguments through to a point where they reveal their inherent inconsistencies. Recasting philosophical expression is thus a risky enterprise, and this is a point I explore further in Essay 1, that focuses especially upon creative expression in painting and to some extent in literature. In Essay 2 I discuss the notion of Gestalt and how it serves this general project, whereas Essay 3 deals with verbal language, on the basis of Merleau-Ponty’s reading of Saussure’s linguistics. Essay 4 examines bodily expression from the point of view of feminist phenomenology and in particular Judith Butler’s early reading of Merleau-Ponty, and finally Essay 5 discusses expression in the art of dance.At the time of the doctoral defense, the following papers were unpublished and had a status as follows: Paper 4: Accepted. Paper 5: Accepted.
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Chou, Kuei Yin. "Vertige, hypnose, ivresse : la vision dromoscopique dans le cinéma et l'art contemporain." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA118.
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La « dromoscopie », terme proposé par Paul Virilio, désigne une conception visuelle du paysage en mouvement. La vision dromoscopique ne se limite pas à celle du pare-brise, mais aussi à celle d’une vitre, d’un hublot ou d’autres dispositifs de véhicule comme machine à vision, à travers lesquels l’image cinématographique ou audiovisuelle montre ce phénomène de perception particulière.Cette thèse a pour objectif de repenser le cinéma à travers cette vision mobile mystérieuse. Il existe une force commune derrière ces défilements du paysage, cette vision omniprésente, fragmentée, et apparemment banale, qui modifie notre perception discrètement et inconsciemment, mais ignorée malgré son énergie visuelle et kinesthésique. Trois effets que la vision dromoscopique provoque chez le spectateur sont explorés : vertige, hypnose, et ivresse. Devant le défilement spatial, le spectateur peut perdre ses repères dans l'illusion du mouvement ; entrer en état de conscience modifié ; ou éprouver une transformation radicale de la perception. La vision frontale provoque le vertige dans la traversée cosmique en voyage d’hyperespace ; la vision latérale hypnotise son observateur avec ses rythmes répétitifs ; l’ivresse des formes s’étend dans l’imagination d’un monde métamorphosé. Cette vision palpe son public de façon cutanée, musculaire, et viscérale.Caché derrière l’espace dramaturgique, le rythme dromoscopique incite discrètement la sensation kinesthésique du spectateur à rejoindre son mouvement, quand la conscience se concentre sur les intrigues. La vision dromoscopique nous emporte dans ses défilements simples et complexes, nous fait ressentir le mouvement, nous fait vivre le cinéma"Dromoscopy", a term proposed by Paul Virilio, designates a visual conception of landscape in motion. Not limited to what is seen through a car’s windshield, dromoscopic vision can be through a train or airplane window or other vehicle-as-vision-machine devices through which the cinematographic or audiovisual image portrays this particular phenomenon of perception.This thesis aims to reconsider cinema through this mysterious mobile vision, to find the shared power behind these unspooling landscapes. This ubiquitous, fragmented and seemingly ordinary vision, which discreetly and unconsciously alters our perception, has been ignored despite its visual and kinesthetic energy.Three of dromoscopic vision’s effects on viewers will be explored: dizziness, hypnosis, and intoxication. Faced with a moving landscape, spectators may lose their bearings in the illusion of movement; enter into a modified state of consciousness; or experience a radical transformation of perception. Frontal vision causes dizziness in hyperspace travel; lateral vision hypnotizes observers with its repetitive rhythms; the intoxication of forms" extends into the imagination of a metamorphosed world. This vision probes its audience in a cutaneous, muscular and visceral way.Hidden behind the dramaturgical space, dromoscopic rhythm discreetly summons spectators’ kinesthetic sensations to join the movement, while their consciousness focuses on the plot. Dromoscopic vision carries us away with its simple and complex unspooling motion, makes us feel the movement and experience film (more) fully
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Molotokienė, Ernesta. "Suvokimo ir vaizduotės santykio problema Husserlio filosofijoje." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20121001_092630-04954.
Full textAbstract:
Vakarų filosofijoje suvokimui, lyginant su vaizduote, tradiciškai buvo skiriamas išskirtinis dėmesys. Jau Antikos mąstytojai suvokimui kaip labiausiai prie tikrovės pažinimo priartėjančiam proto gebėjimui skyrė privilegijuotą statusą kitų proto formų atžvilgiu. Vaizduotė epizodiškai šmėstelėdavo tik filosofijos istorijos periferijoje, tačiau net ir tokiomis aplinkybėmis vaizduotė buvo suprantama ne tik kaip „netobulas“ suvokimas, bet ir kaip radikaliai skirtingas, unikalus sąmonės gebėjimas. Vis dėlto iki Edmundo Husserlio išsamus vaizduotės fenomeno tyrimas, atskleidžiant fundamentalų suvokimo ir vaizduotės santykį, nebuvo atliktas.Fenomenologinis sąmonės patirčių aprašymas „legalizuoja“ vaizduotę ir nuo šiol prasideda intensyvus jos persekiojimas: sekant vaizduotiškais pėdsakais, paaiškėja, kad vaizduotė yra apraizgiusi visus sąmonės išgyvenimus, pati išlikdama refleksijai nepasiekiamame sąmonės šešėlyje. Todėl, logiška, kad aiškiausiai vaizduotiški pėdsakai matomi ten, kur, regis, vaizduotės slėptuvės mažiausiai tikimasi – suvokimo lauke. Fenomenologiškai tiriant suvokimo ir vaizduotės aktus, paaiškėja, kad privilegijuotą suvokimo poziciją ir pretenziją į pažinimo tikrumą sugriauna vaizduotė, neutralizuodama visų išgyvenimų pretenzijas į tikrumą, todėl suvokimas tampa tik viena iš tikrumo galimybių, praktiškai niekuo nesiskiriančia nuo galimo vaizduotiškos tikrovės supratimo. Suvokimo ir vaizduotės santykis yra problemiškas: viena vertus, vaizduotė yra radikaliai skirtinga... [toliau žr. visą tekstą]In the Western philosophy, the perception, in comparison with imagination, traditionally receives exceptional attention. Already antiquity thinkers attributed a privileged status to perception as the mind’s capability most closely approached to the cognition of reality with regard to other forms of the mind. Imagination episodically loomed just in the periphery of the history of philosophy, however, even in such circumstances imagination was understood not only as „imperfect“ perception, but also as radically different and unique capability of consciousness. However, until Edmund Husserl, no comprehensive research of the imagination phenomena while revealing the fundamental ratio of perception and imagination had not been performed.The phenomenological description of the experiences of consciousness „legalizes“ imagination and from now its active prosecution starts: tracing imaginative traces it becomes clear that imagination has tangled all experiences of consciousness while staying in the shadow of consciousness, unreachable for reflection. Therefore it is logical that imaginary traces are seen most clearly where the shelter of imagination is expected in the least degree – in the field of perception. Researching the acts of perception and imagination phenomenologically, it becomes clear that the privileged position of perception and the claim to the authenticity of cognition is demolished by imagination, neutralizing the claims of all experiences to the authenticity... [to full text]
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Price, Richard. "The way things look." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670132.
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Castro, Thiago Gomes de. "Percepção e autoconsciência : modelos experimentais na naturalização da fenomenologia." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/80073.
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Tese dividida em cinco capítulos, sendo três capítulos sobre teoria fenomenológica e naturalização nas Ciências Cognitivas e dois capítulos experimentais sobre percepção espaço-corporal, autoconsciência e affordance. O primeiro capítulo traça aspectos históricos da definição de intencionalidade e percepção de movimento próprio na Fenomenologia de Edmund Husserl em contraste com modelos de intencionalidade em outros sistemas filosóficos. O segundo capítulo explora a relação da Fenomenologia com psicólogos experimentais alemães nas duas primeiras décadas do século XX e a utilização do método fenomenológico para fins experimentais. O estudo dois também trata das decorrências indiretas da teoria fenomenológica na composição do argumento ecológico da percepção direta (James J. Gibson). O terceiro capítulo se ocupa dos modelos de naturalização da Fenomenologia nas Ciências Cognitivas, enfatizando o modelo de Fenomenologia Front-loaded como recurso metodológico que será empregado na seção experimental seguinte. No quarto capítulo, início da seção experimental, a percepção corporal, a habilidade cognitiva de representação de espaços e a autoconsciência são investigadas em uma tarefa experimental denominada Ilusão da Mão de Borracha (IMB). Os achados indicam correlação positiva entre um padrão de estimulação tátil em sincronia, entre mão real e prótese estética, com alterações tipificadas na capacidade de estimar distâncias numéricas. Traços estáveis de autoconsciência correlacionaram com as variações de estimativa espacial, mas não com as características descritivas da percepção da ilusão sensorial. No quinto capítulo investiga-se a interferência específica da estimulação tátil, sem presença de prótese estética, na habilidade de seleção de estímulos visuais por efetores manuais em uma relação de compatibilidade espacial (Efeito Simon). O experimento também testa o efeito da oclusão visual de um dos membros superiores sobre a compatibilidade espacial esperada pelo Efeito Simon entre o efetor ocluído e os estímulos visuais. Os resultados evidenciaram um aumento significativo dos tempos de reação das respostas manuais incompatíveis com o hemicampo visual, quando em condição de estimulação tátil. Ademais, houve decréscimo nos tempos de reação, sob a condição de estimulação tátil, para as respostas de compatibilidade espacial em ambos os efetores. Em contraste, a oclusão de um dos membros superiores não gerou diferenças importantes quando comparada à condição controle de resposta sem interferência. A autoconsciência corporal, tomada no experimento por uma escala de autorrelato, informou correlação positiva com modificações da resposta manual de seleção dos estímulos em tempos de reação na casa dos 20ms. Novamente, uma escala de autorrelato sobre autoconsciência corporal indicou interação com o desempenho. Nesse caso, com variações de ação seletiva manual em tempos de reação abaixo do nível de consciência da experiência. A repercussão dos achados é discutida junto à Teoria da Codificação de Eventos (TEC), que interpreta a seleção de estímulos por vieses intencionais prévios diretos no ambiente, não reflexivos ou representados conscientemente. Repercussões da Fenomenologia Front-loaded como opção metodológica nos dois experimentos são debatidas no contexto das Ciências Cognitivas.Dissertation divided in five chapters: the first three chapters on phenomenological theory and it’s naturalization in Cognitive Sciences, and the two last chapters on experimental research about spatial and body perception, self-consciousness and affordance. The first chapter traces the historical aspects of the definition of intentionality and kinesthesia in the Phenomenology of Edmund Husserl, contrasting it to models of intentionality in other philosophical systems. The second chapter explores the relationship between phenomenology and German experimental psychologists in the first two decades of the twentieth century and their appropriations of the phenomenological method for experimental purposes. The chapter also addresses the indirect consequences of phenomenological theory for the composition of the ecological argument on direct perception (James J. Gibson). The third chapter deals with models of Phenomenology naturalization in Cognitive Sciences, emphasizing the front-loaded phenomenology model as a method that will be employed in the experimental section. In the fourth chapter, the beginning of the experimental section, body perception, cognitive ability for space representations and self-consciousness were investigated through an experimental task called Rubber Hand Illusion (IMB). The findings indicated a positive correlation between a pattern of synchronous tactile stimulation, between real hand and rubber hand, and typified changes on numerical distance estimations. Stable traces of self-consciousness correlated with space estimations variations, but not with descriptive features of the sensory illusion perception. The fifth chapter investigates the specific interference of tactile stimulation, without the rubber hand, on visual stimuli selection abilities performed by manual effectors in a spatial compatibility task (Simon Effect). The experiment also tests the effect of hemilateral visual occlusion of an upper limb on the spatial compatibility task. The results evidenced a significant increase in reaction times for manual responses towards incompatible stimuli, when the participants were stroked by the paintbrush on their right hand. Moreover, there was a decrease in reaction time, under the condition of tactile stimulation, for compatible responses on both effectors. In contrast, the occlusion of one arm yielded no significant differences when compared to the control condition without any interference. Body self-consciousness, taken by a self-report measure, had a positive correlation with changes in response selection at 20ms reaction times. Again, a self-report scale of self-consciousness indicated interaction with performance. In this case, with variations of selective action for reaction times below the level of conscious experience. The impact of the findings is discussed within the Theory of Event Coding (TEC) framework, which interprets the selection of stimuli by previous direct intentional bias on the environment, not reflective or consciously represented. Implications of Phenomenology Front-loaded as the methodological option in both experiments are discussed in the context of Cognitive Sciences.
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Soto, Lionel. "Hispanic Students' Perception of How Well Public High School Prepared Them for College." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc1505174/.
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Although Hispanics are graduating from high school at greater rates, it is not leading to college success as college graduation rates remain low. In Texas, the Hispanic population has grown to the point that one out of three of all Texans are Hispanic. A phenomenological approach to research was used to investigate the perceptions of Hispanic college students on how well their public high school prepared them for college. Through face-to-face interviews and focus group discussions, eight Hispanic college students provided insight concerning their high school experience and how it translated into college readiness. Four questions guided the study: 1) in what ways do Hispanic college students believe their public high school prepared or failed to prepare them academically for post-secondary education; 2) in what ways do Hispanic college students believe their public high school prepared or failed to prepare them culturally for post-secondary education; 3) in what ways do Hispanic college students believe their public high school prepared or failed to prepare them socio-emotionally for post-secondary education; and 4) how do Hispanic students perceive their cultural identity in regards to their high school experience. Findings revealed four themes relating to how Hispanic students perceive their high school experience prepared them for college which include, academic readiness, cultural readiness, socio-emotional readiness, and cultural identity. The research demonstrated the complex process of transitioning from high school to college for Hispanics.
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Kennedy, Desmond Joseph. "Healing perception : the application of the philosophy of Maurice Merleau-Ponty to the theoretical structures of Gestalt Psychotherapy." Thesis, University of Derby, 2002. http://hdl.handle.net/10545/314237.
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This is the first time such an extensive application has been attempted. The thesis argues that Gestalt therapy as a modality of perception, can best come to a recognition of itself in the Phenomenology oj Perception. That Gestalt therapy requires such a support is apparent right from its flawed foundation in the writings of Paul Goodman. Its weak philosophical foundation has diverted its development away from the lived body, impoverished its view of phenomenology, constrained its language so that the articulation of its theoretical structures lacks depth, left it vulnerable to the distortions of post-modem constructivism, rendered unclear the domain proper to it as a psychotherapy, and bequeathed to those who would work to construct a consistent, organic and cohesive theoretical structure, an impossible task. The epistemological foundation of the theoretical structures of Gestalt therapy is to be found in what Merleau-Ponty calls 'primordial contact' or belief. This is that timeless pre-conceptual 'moment', when, without theme or image, a world begins to form itself about me. In this 'moment' I experience myself as 'given' to me in my body. This primordial experience of givenness is henceforth the ever-present anchorage of all subsequent experience. It is this which authenticates the therapist's immediacy to his/her client which constitutes the dialogue between them as healing. The argument in the thesis hinges upon the congeniality between Gestalt therapy and Merleau-Ponty's philosophy: they are both experiential, radically holistic and centred upon the lived body. They both claim to transcend the subject/object, mind/body dualism and view the human being in his/her embodiment as the Gestalt, actualizing being-in-theworld. The thesis demonstrates how, with the application of four key concepts from Merleau-Ponty's philosophy to the theoretical structures of Gestalt therapy-intentionality, anonymity, transcendence and intersubjectivity - there emerge new horizons of understanding for such Gestalt therapy concepts as field theory, immediacy, holism, personal relationship and the body as a carrier of our history. Such an application also reveals to us the 'phenomenal field' as the domain of operation proper to a therapy of bodily presence, awareness and exploration. The thesis concludes that the development of Gestalt therapy theory lies in a more profound development of its phenomenology along the lines of the analysis made by Merleau-Ponty in the Phenomenology of Perception. Such a direction will at once correct its list towards scientism, and the penchant for involvement in distracting philosophical debates. The thesis also points up the need for development at the training level of skills in reflection upon the experiential learning of the Gestalt therapy concepts, the paramount importance of relationship between trainers and trainees based upon an exacting personal authenticity and transparency.
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Ma, Magdy. "A Semiotic Phenomenology of Visual Rhetoric: Communication and Perception of Attributes of Cultural Sustainability in the Visual Environment of Public Housing." NCSU, 2008. http://www.lib.ncsu.edu/theses/available/etd-06192008-072312/.
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An integrated framework comprising rhetoric, semiotics, and phenomenology was constructed to provide theoretical foundations for exploring public housing residentsâ experiences engaging in the visual phenomenon of ânew signageâ and âestate art.â The focus of study concerns how design, meanings, and experiences of the visual objects evoke in residents a sense of cultural sustainability. A mixed-method âconcurrent nested qual+QUALâ strategy was developed to approach the research problem. This theory-driven methodology embeds semiotics within the dominant strategy of phenomenology. The researcher began with self-reflection, or âbracketing,â providing a descriptive account of her own experience of the phenomenon. Qualitative interviews were then conducted in four housing estates with 26 participant residents including elderly people, workers, housewives, and students. Standardized questions elicited participantsâ readings of designs within their social context; the questions were ânestedâ within informal conversations, which generated participantsâ full descriptions, first-person accounts of visual experiences interpreted within a more personal context. Bracketing identified that a rhetorical situation exists in the semiotic neighborhoods of estates wherein relocated residents appeared to have âa sense of disorientationâ and âaspiration to prosper.â These sensibilities were addressed through the design of name signs and public art. Socio-semiotic analysis of the visuals entailed seven cultural codes, representing cultural values underpinning the community. Phenomenological analysis captured residentsâ lived experience of visuals as seven phenomenological themes. The themes formed a structure of experience, indicating what it is like to perceive attributes of cultural sustainability. Further, five interpretive positions, or essences of experiences were uncovered as underlying the experiences. A synthesis of findings shows that communication and perception of cultural sustainability involved the rhetorical encoding of intended positive meanings into the visual designs, which residents decoded to come up with cultural meanings that evoked thoughts and feelings about the vitality of their community and continuity of Chinese culture. It is a result of âvisualityâ â interrelationships among designâs persuasive power, visual signification, and viewing experience â conditioned by residentsâ interpretive positions. This dissertation bridges visual design and sustainability, unveiling their enhanced social values while integrated, and strengthens the knowledge base of both fields of study, especially by its theoretical and methodological implications.
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Mukherjee, Shomik. "Sketching the human self : a synthesis of insights gained by heeding the experience of breath and voice." Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=235513.
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In this thesis I (1) identify some problems in the Popperian scientific method; (2) develop, as an alternative, and to a level of usability, a phenomenological method of knowing; (3) use this method to make a series of inferences about the nature of the human self; (4) compare and contrast my inferences with those of other scholars working on the same themes; and (5) let some of my inferences suggest ways of developing the method further. I show (1:1) how the scientific method is underpinned by a paradigm of ontic dualism; (1:2) how this paradigm has led to a certain conception of the human self; and (1:3) how this conception has led to the normalization of harmful ways of acting in the world, and thus to a planet made up of living beings who cannot find a steady fit with each other's life-ways. I develop an alternative method by building on the work of (2:1) Goethe, (2:2) Holdrege, (2:3) Ellis and (2:4) Heidegger. In essence this method consists of recalling and making inferences from one's experience. (3:1) I undertook a set of six activities (sometimes spoken of as 'Sufism'). (3:2) I try to understand my findings in the light of the ideas of four scholars: the teacher who leads these activities, Murshid Saadi, eleventhcentury polymath ibn Sina, anthropologist Tim Ingold and philosopher David Abram. (3:3) I make fifteen inferences about the human self, falling into seven themes: monism, mood, willing, perceiving, speaking, growing, and substantiveness. (4) Comparing and contrasting my conclusions with those of other scholars suggests that they are valid. (5) I develop the method further by incorporating into it the delineation of classes of phenomena and the delineation of patterns of phenomenal change. I end by discussing some implications for ethical human life-ways.
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Ferreira, Miliam Juliana Alves. "A constituição e a produção do conhecimento matemático ao ser-com o computador /." Rio Claro, 2019. http://hdl.handle.net/11449/181912.
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Orientador: Rosa Monteiro PauloResumo: As Tecnologias Digitais (TD) e as suas potencialidades na produção do conhecimento tem sido tema de pesquisas em distintas áreas do conhecimento, desperta o nosso interesse e possibilita a pesquisa de doutorado explícita neste texto, cujo objetivo é a constituição e a produção do conhecimento matemático do sujeito, o matemático, quando ele está junto ao computador. Para dar conta desse desejo de querer saber interrogamos “como o matemático que produz matemática com o computador expressa o modo pelo qual compreende a presença dessa tecnologia em sua produção?”. O interrogar, em uma postura fenomenológica, possibilitou compreender a constituição e a produção do conhecimento matemático com o computador, como ela é vista pelo matemático da área pura ou aplicada. Para expor o compreendido apresentamos, neste texto, a região de inquérito da pesquisa dizendo do significado das Tecnologias Digitais, do ser-com-as-Tecnologias-Digitais, da produção do conhecimento, do ser-com-o-computador e da produção do conhecimento quando se está com o computador. Partindo de autores como Borba e Villareal, que criaram o constructo teórico seres-humanos-com-mídias, pudemos, em uma perspectiva fenomenológica, destacar a vivência da pessoa que produz conhecimento com o computador. Esse destaque é feito ouvindo o matemático da área pura ou aplicada que, no diálogo, expõe o modo pelo qual vê sua produção com o computador. Orientados pela postura fenomenológica interpretamos a fala dos sujeitos e apresen... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The potential of Digital Technologies (TD) for the production of knowledge has been the subject of research in different areas of knowledge; make us interested and makes possible the research of doctorate explicit in this text, whose objective is the constitution and the production of the mathematical knowledge of the subject when he is with the computer. To advance the research we ask: "how does the mathematician who produces mathematics with the TD express the way in which he understands the presence of these technologies in his production?". The interrogation, in a phenomenological posture, made it possible to understand the constitution and production of mathematical knowledge with the computer as it is understood by the pure or applied area mathematician. In this text we present, to say of the investigated the meaning of Digital Technologies, of being-with-Digital Technologies, of the production of knowledge, of being-with-the-computer and of the production of when you have the computer. Starting with authors such as Borba and Villareal, who created the theoretical human-media construct, we emphasize, in a phenomenological perspective, to highlight the experience of the person who produces knowledge with the computer. This distinction is made by listening to the mathematician, from the pure or applied area, who in the dialogue exposes the way in which he sees his production with the Digital Technologies. Guided by the phenomenological posture we interpret the subjects' s... (Complete abstract click electronic access below)
Doutor
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Zanfra, Beatriz Viana de Araujo [UNIFESP]. "Liberdade e temporalidade na fenomenologia da percepção de Maurice Merleau-Ponty." Universidade Federal de São Paulo (UNIFESP), 2014. http://repositorio.unifesp.br/handle/11600/39250.
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Na obra A estrutura do comportamento, de 1942, Maurice Merleau-Ponty, por meio da noção de estrutura, combate o naturalismo e o intelectualismo, mostrando que o corpo não é um agregado de músculos e de nervos que opera de acordo com a causalidade mecânica e funcional e que a consciência reflexiva não é a única forma da consciência e nem sua primeira manifestação, mas sim dependente da consciência perceptiva e indiscernível do corpo como princípio estruturante. Nesse sentido, no capítulo destinado à questão das relações da alma e do corpo, Merleau-Ponty mostra que todos os problemas a esse respeito se reduzem ao problema da percepção, entendida como "o ato que nos faz conhecer existências" e vê a necessidade da filosofia transcendental ser redefinida a fim de integrar nela o fenômeno do real, sendo tal filosofia a fenomenologia, com a investigação da percepção desempenhando um papel fundamental nela. Em Fenomenologia da Percepção, de 1945, Merleau-Ponty retoma o problema das relações da alma e do corpo abordado no livro anterior, mostrando que a temporalidade resolve tal problema, pois a ideia de subjetividade como temporalidade nos permite ver que o para-si, a revelação de si a si, é o vazio no qual o tempo se faz, e o mundo "em si", que é o horizonte de nosso presente, fazem o problema redundar em saber como um ser que é porvir e passado tenha também um presente, o que acaba suprimindo o problema, já que o porvir, o passado e o presente estão ligados no movimento de temporalização. Sendo assim, a solução de todos os problemas de transcendência se encontra na espessura do presente pré-objetivo, onde encontramos, entre outras coisas, o fundamento de nossa liberdade.
On the work The structure of behavior (1942) Maurice Merleau-Ponty, through the notion of structure, combats naturalism and intellectualism, showing that the body is not an aggregate of muscles and nerves that operates according to mechanical and functional causalities and showing that the reflective consciousness is not the only form of consciousness and is not its first manifestation, but dependent on perceptual consciousness and indiscernible of body as a structuring principle. Accordingly, on the chapter dedicated to the question of the relation between soul and body, Merleau-Ponty shows that all problems in this regard are reduced to the problem of perception, which is understood as "the act that makes us know existences" and sees the need for transcendental philosophy be redefined in order to integrate the phenomenon of reality. This philosophy is the phenomenology, with the research of perception playing a key role in it. On Phenomenology of Perception (1945) Merleau-Ponty takes up the question of the relation between soul and body covered in the previous book, showing that the temporality solves this problem because the idea of subjectivity as temporality allows us to see that the for-itself, the revelation of self to self, is the emptiness in which time is done, and the world "in itself", which is the horizon of our present, make the problem redound to know how a being that is future and past has also a present, eliminating the problem, because the future, the past and the present are linked in the movement of temporalization. Thus, the solution of all problems of transcendence is in the thickness of the pre-objective present, where we can find, among other things, the foundation of our liberty.
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Venslovaitė, Vita, and VITA VENSLOVAITĖ. "The Influence of Teacher Narrative on the Student‘s Aesthetical Perception: A Phenomenological Perspective of Musical Expresssion." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130925_093629-86876.
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Dissertation contains theoretical research which allowed to describe and to evaluate possibilities of application of phenomenological method in music education and to foresee the approaches of the teacher who works based on this method, focusing on teacher’s narrative. Seeking to highlight the specificity of a student’s aesthetic perception, the context of musical education at a music school had been chosen when an individual meeting of a teacher and a student in the lesson of a particular musical instrument takes place. Because of its singularity for every person to accept it as their own meaning of experience, as a phenomenon, music is favourable to grasp phenomenal aesthetical experience of students. Unique aesthetic experiences of the students and approaches of the teachers, which are vital to recognise the aesthetic perception of a student, were analized using phenomenological method. It is examined, how and by what linguistic means teacher conveys the musical meaning.
Using unstructured interview with the teachers and students and also by observing the lessons, empirical research was conducted, revealing the importance of the narrative as a method, which helps to highlight unique experiences and to grasp the aesthetical perception of the students. It also showed the influence of teacher on a student as a result of internecine interaction while transferring the musical meaning in the process of musical education. The teacher, transferring the musical meaning through... [to full text]Disertacijoje pateiktas teorinis tyrimas, leidęs apibūdinti ir įvertinti fenomenologinio metodo taikymo muzikos mokymui galimybes ir numatyti mokytojo prieigas dirbant šiuo metodu, daugiausia dėmesio skiriant mokytojo naratyvui. Mokinio estetinio suvokimo specifiškumui išryškinti pasirinktas muzikos mokymo muzikos mokykloje kontekstas, kai per konkretaus muzikos instrumento pamoką vyksta individualus mokytojo ir mokinio susitikimas. Muzika, kaip fenomenas, yra palanki užčiuopti fenomenaliems mokinių estetiniams potyriams dėl savo ypatumo asmeniui ją priimti kaip savo patirties reikšmę. Taikant fenomenologinį metodą analizuojami unikalūs mokinių estetiniai išgyvenimai ir mokytojų prieigos, būtinos mokinio estetiniam suvokimui atpažinti. Nagrinėjama, kaip ir kokiomis kalbinėmis priemonėmis mokytojas perteikia muzikinę reikšmę. Atliktas empirinis tyrimas, naudojant mokytojų ir mokinių nestruktūruotą interviu bei stebint pamokas, atskleidė naratyvo kaip metodo, padedančio išryškinti unikalias mokinių patirtis ir užčiuopti jų estetinį suvokimą, svarbą. Taip pat parodė mokytojo įtaką mokiniui kaip tarpusavio sąveikos rezultatą perduodant muzikinę reikšmę muzikinio ugdymo proceso metu. Mokytojas naratyvu perduodamas muzikinę reikšmę, viena vertus, mokinį nukreipia į norimą suvokimo objektą, kita vertus, per metaforą ir vaizduotės interpretacijas atveria galimybes mokiniui tą reikšmę suvokti savaip ir perteikti ją per raišką. Atskleista, kaip, remiantis fenomenologinėmis... [toliau žr. visą tekstą]
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Rundall, Shane. "Artistic Action and Contemplation: Recapturing The Elements of Mystery That Make Every Round of Golf A Voyage of Discovery." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/32376.
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Artists think differently. They challenge the practical and apply their ideas to the contemporary world creating many journeys and excitement along the way. Without them, the world would have remained flat and as unique as black and white.
This thesis investigation is grounded in phenomenological theories of aesthetics proposed by Maurice Merleau-Ponty and John Dewey, the artistic approach of Jackson Pollock and Yves Klein, and my own perceptions of the process of creating art. The objective is to apply aesthetic concepts and principles derived from these sources to the practice of golf course architecture and expand the way we view and play in our golf course environment.
Golf, unlike any other sport, is carried out over an area of awarded luck and encouraged misfortune that also happens to be a living environment. Without question, no two courses are alike. Nor is any hole on any course ever the same. Nor is any hole, even if played the very next day, going to relinquish the same experience. Daily tee and hole locations make for an infinite number of configurations; as does wind, the temperature, the condition of the grass or the suddenly drooping branches of a once upright tree. However, not all courses reach their potential and capitalize on the environments possibilities and the perception of those experiencing it. Some course designers simply place holes in a pattern to reach desired numbers of par and yardage in order to fulfill a requirement. With the unrelenting expense of land and the continued awareness of negative development impacts, the art of golf course architecture could be viewed a bit differently. By incorporating the attitude of an artist such as Jackson Pollock, or the mentality of a psychologist such as Merleau-Ponty, and revealing the possibilities of the subconscious, the golf course architectâ s design can do more than give shape to space.
Blacksburg Country Club, located in Ellett Valley just outside of the town of Blacksburg, Virginia serves as a case study site for this design investigation. The intent of the thesis is to develop a design that addresses the technicalities of golf course architecture
and the history of the profession while creating a piece of â art in natureâ that touches all the senses â the gateway to the soul. There just happens to be a game inside.Master of Landscape Architecture
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Mokkila, Granlund Edward. "Musik, mening och Merleau-Ponty." Thesis, Linköpings universitet, Avdelningen för filosofi, historia, konst och religion, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-165385.
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Är upplevelsen av musik meningsfull och på vilket sätt är det möjligt för ett musikstycke att gestalta en yttre värld? I denna uppsats undersöker jag lite kort vad inom musiken skulle kunna förstås som en mening. Genom att se till olika förhållanden av meningsfullhet och musikalisk upplevelse går det att förstå dess breda förklaringssvårigheter. Meningen ter sig subjektiv men kan också bidra till en kollektiv samstämmighet om ett musikstyckes meningsfullhet. Upplevelsen av musik i sin tur kan hjälpa en kompositör eller artist att gestalta en omvärld för sig själv. Denna gestaltning bebor inte musiken på liknande sätt som en manual beskriver ett tillvägagångssätt utan med hjälp av medlet musik kan artisten uttrycka något som en vokabulär inte möjligtvis är kapabelt till. Med kroppen som länk mellan den yttre världen och subjektets vilja används vanan av att bruka ett instrument som en förlängning för kroppen. Att utgå från kroppen som en medvetandehorisont är något som är nära besläktat till Merleau-Pontys existentiella fenomenologi i Phenomenology of Percetion och utgör en bra grund för denna uppsats. Även om jag inte kommer fram till ett svar ifall musik besitter en mening så har upplevelsen av musik utforskats genom olika musikaliska verk och hur musikalisk gestaltning kan användas för varseblivning.Is the experience of music meaningful and in which way is it possible for a musical arrangement to depict an external world? This essay will firstly examine what meaning within music might refer to. Though there are difficulties to pinpoint an exact definition of meaning in regard to several different experiences of music it seems to originate from the subject itself. Even so, music can possess a collective acceptance within their respective social groups. The experience of music can help a composer to portray a surrounding, not by the virtue of musical characteristics, but by mediating the will of the composer. Unlike a manual which is guiding the reader to take certain steps the composer can express what a vocabulary is lacking by the habit and familiarity of ones instrument as an extension of the performers body to link an external world. This is very much related to the existential phenomenology put forward by Merleau-Ponty in Phenomenology of Perception and on which I base my arguments on. Even though I might not find a meaning within music I have examined the possibility for experiencing music as a way of portraying the surrounding world.