LIBRI DI IVANA BIANCHI

Il contributo focalizza il tema dell’emozione estetica e del nesso causativo che conduce al piacere dell’arte. Piu che attraverso una sistematica rassegna delle bibliografia sul tema, il contributo argomenta la struttura di ipotesi, metodo e risultati sottostante a due percorsi di ricerca-didattica centrati sull’analisi dell’esperienza fenomenica che raccorda le componenti percettive con il complesso sistema di analisi cognitiva dell’opera. L’intenzione e quella di mostrare che e possibile arrivare alla complessita dell’esperienza emozionale estetica anche attraverso una via contraria a quella normalmente assunta nella definizione di emozione come risposta automatica all’esposizione dell’oggetto d’arte.

Se la relazione problematica tra pensiero-linguaggio-realtà ha animato quasi tutta la storia della filosofia, discipline più attente ai problemi dello studio della realtà, tramite la rilevazione e la costruzione di dati empirici, non sempre hanno mostrato attenzione alla relazione tra ‘dato rilevato’ e realtà osservata. Il volume riflette sul rapporto tra conoscenza di senso comune e conoscenza scientifica, recuperando tradizioni di pensiero a volte dimenticate se non sottovalutate.

The connection between adjectives and qualities in wordnet (di Natalija Karp, Ugo Savardi, Ivana Bianchi) - ABSTRACT: Adjectival semantics is extremely complex and intertwined with the problem of finding an adequate description of antonymy relationship. In this paper, we will give an analysis of WordNet’s treatment of the adjectival semantic and of its main theoretical assumptions, especially its grounding of adjectival semantics on the internal structure of qualities. As we will argue, this hypothesis is extremely insightful for understanding the antonymic organization of adjectives, but in WordNet it rests just a mere assumption, without any reference to the experimental literature on qualities organization at the perceptive level; when compared with it, qualities reveal to be much more articulated and complex than WordNet’s assumptions.

In the first part of this work, the stimulus error paradigm is used to show how the classic perceptual phenomena known as illusions are perceived as being characterized by duality and identity. In the second part, research on illusions as developed in the field of the psychology of perception is compared to the use of illusory effects in pictorial figurative art. This is further extended to a comparison between Picture-view and Mirror-view images. Finally, it will be shown that the duality-sameness of picture and Mirror views is present in Brunelleschi’s well known peepshow experiment and in Alberti’s front picture plane (Alberti’s window).

The purpose of this article is primarily methodological, aimed at develop-ing suitable methodologies for analyzing the perceptual structure of opposi-tion. The phenomenological internal structures of 37 opposite spatial di-mensions are discussed, based on data collected in two different experi-mental tasks. The data have been previously discussed in terms of non-fuzzy logic (Savardi, & Bianchi, 2000). This paper explores the potential applications of a fuzzy model for reanalyzing the data. The fuzzy struc-tures for the 37 spatial dimensions, which resulted from an indirect method of obtaining membership functions, are presented and discussed.

Our goal was to verify the hypothesis that musical excerpts are perceptu-ally structured within dimensions of opposite properties. Participants, 9 expert musicians, were asked to complete three tasks when listening to 8 short sections of jazz music. In the first task, participants were asked to inter-observatively define a list of opposite dimensions, which they judged sufficient to form a complete description of the events they were listening to. In the second task participants were asked to choose, within the list set in the first task, which dimensions they clearly recognized in each of the 8 musical sections. In the third task participants were asked to indicate when one property changed into the opposite by drawing a marker in the musical sheet, for each of the previous recognized dimensions. Results confirmed the possibility to state the direct organization within structures of opposi-tion of the perceived identity of musical excerpts.