We ran a pilot experiment to explore, using a new psychophysical method, the hypothesis proposed by Zietz and Werner in the ’30s, that a sound presented simultaneously with an afterimage can change its phenomenal appearance in non-synaesthetes. The method we adopted is able to directly collect and visualise the apparent changes in intensity of the afterimages, by recording observers’ interactions with a physical feedback mechanism, without referring to verbal descriptions. These first findings support some of the most meaningful observations reported (...) by Werner and Zietz, according to which the colours of the afterimages ‘disintegrate’ at the hearing of a low sound and ‘concentrate’ for a high sound. This relationship is particularly evident with the Yellow stimulus, where the perceived colour intensity of its afterimage seems to have a faster negative change with a low-pitched tone sound, and an increase in intensity and duration when perceived simultaneously with a soprano sound. These data are also coherent with the crossmodal correspondences between both pitch and loudness in audition and lightness and brightness in vision reported in the literature. (shrink)

The possible contribution that the figure of the veterinarian provides to a progressive clarification of the knowledge inherent in the animal subject can be highlighted by an epistemological reflection which throws into relief the distinctive modes of approach and the most suitable curative procedures. At the same time a comparison between such procedures and the methods developed by different contemporary philosophical-scientific sectors, including those of the human sciences, could prove instructive in reporting the junctions and obligatory crossings of common problems.

Summary The famous essay by Christian von Ehrenfels, Über Gestaltqualitäten (1890), opens up, as is well-known, an important seam not only in the psychology of perception but also of aesthetics, of the psychology and philosophy of music, art and language. Here, in fact, the form understood as ‘Gestalt’ is something concretely audible and visible and not simply a formal abstraction. It is about a pioneering programme rich in ideas and original connections. The author does not mean simply to define the (...) meaning of the concept of Gestalt, but he also sets out a fertile variety of extraordinary applications. In the first place – following a suggestion of Ernst Mach’s – he indicates an application in the field of music, in particular in the exemplary case of melody. In this sense the melody, as a temporal Gestalt, is a more fitting illustration of Gestalt than a spatial Gestalt (e.g. of a geometric figure). But in other cases, as for instance in the case of perception of movement, both temporal and spatial Gestalts are admitted. And a characteristic example is provided by dance. In this article, we shall investigate the comparison between sound movement and visual–gestural movement, and we shall also be discussing the matter by having recourse to the experience of professional dancers. (shrink)

In this essay, the highly original contribution made by Rudolf Haller to aesthetic studies and the philosophy of art is analysed. In particular, the volume Facta und Ficta (1986) is examined, which takes as its starting point the contrast between real and imaginary objects, including works of art. According to Haller, it is problematic to give a definition of a work of art because one can refer to very different creations, from poetic compositions to architectural structures and musical scores. Therefore, (...) in post-Hegelian aesthetics, a dynamic consideration of art is important, which leaves room for empirical multiplicity and artistic variety without aprioristic preclusions. (shrink)