Handbook of Experimental Phenomenology

2013 ◽  
Keyword(s):  
Experimental Phenomenology

scholarly journals Why Experimentum Crucis is Possible in Psychology of Perception

2018 ◽  
Vol 40 (1) ◽  
pp. 45-57 ◽  
Author(s):  
Michele Sinico
Keyword(s):  
Psychological Research ◽  
Perceptual Knowledge ◽  
Experimental Phenomenology ◽  
Phenomenology Of Perception ◽  
Scientific Disciplines ◽  
Isolated Systems ◽  
High Degree ◽  
Essential Assumption

Summary This paper examines the experimentum crucis under the light of the Duhem’s holistic thesis. This methodological instrument is not usable in physics, because physical theories are always logically connected to many assumptions. On the contrary, it is usable in psychological research oriented to perceptual laws, when these laws are, without any hypothetical term, isolated systems. An application of experimentum crucis in Experimental Phenomenology of perception is presented. In conclusion, the role of perceptual knowledge as an essential assumption in other scientific disciplines that have a high degree of theoricity is also underlined.

Experimental Phenomenology

1981 ◽  
Vol 55 (4) ◽  
pp. 508-511
Author(s):  
Randolph M. Feezell ◽  
Keyword(s):  
Experimental Phenomenology

scholarly journals Empirical Aesthetics, Computational Cognitive Modeling, and Experimental Phenomenology: Methodological remarks on “Shaping and Co-Shaping Forms of Vitality in Music: Beyond Cognitivist and Emotivist Approaches to Musical Expressiveness” by Jin Hyun Kim

2013 ◽  
Vol 8 (3-4) ◽  
pp. 178
Author(s):  
Uwe Seifert
Keyword(s):  
Cognitive Modeling ◽  
Emotional Processing ◽  
Affective Computing ◽  
Human Robot Interaction ◽  
Empirical Adequacy ◽  
Robot Interaction ◽  
Experimental Phenomenology ◽  
Computational Cognitive Modeling ◽  
The Mind ◽  
Near Future

The core ideas of the proposed framework for empirical aesthetics are interpreted as focusing on processes, interaction, and phenomenological experience. This commentary first touches on some methodological impediments to developing theories of processing and interaction, and emphasizes the necessity of computational cognitive modeling using robots to test the empirical adequacy of such theories. Further, the importance of developing and integrating phenomenological methods into current experimental research is stressed, using experimental phenomenology as reference. Situated cognition, affective computing, human-robot interaction research, computational cognitive modeling and social and cultural neuroscience are noted as providing relevant insight into the empirical adequacy of current theories of cognitive and emotional processing. In the near future these fields will have a stimulating impact on empirical aesthetics and research on music and the mind.

scholarly journals From Necker Cubes to Polyrhythms: Fostering a Phenomenological Attitude in Music Education

2016 ◽  
Vol 10 (1) ◽  
pp. 5-24 ◽  
Author(s):  
Dylan Van der Schyff
Keyword(s):  
Music Education ◽  
Teaching Practice ◽  
Phenomenological Approach ◽  
The Body ◽  
Special Focus ◽  
Transformative Experience ◽  
Experimental Phenomenology ◽  
Starting Point ◽  
Visual Phenomena

Phenomenology is explored as a way of helping students and educators open up to music as a creative and transformative experience. I begin by introducing a simple exercise in experimental phenomenology involving multi-stable visual phenomena that can be explored without the use of complex terminology. Here, I discuss how the “phenomenological attitude” may foster a deeper appreciation of the structure of consciousness, as well as the central role the body plays in how we experience and form understandings of the worlds we inhabit. I then explore how the phenomenological attitude may serve as a starting point for students and teachers as they begin to reflect on their involvement with music as co-investigators. Here I draw on my teaching practice as a percussion and drum kit instructor, with a special focus on multi-stable musical phenomena (e.g., African polyrhythm). To conclude, I briefly consider how the phenomenological approach might be developed beyond the practice room to examine music’s relationship to the experience of culture, imagination and “self.”

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