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Fascicolo 60 - Scritto di Eleanor J. Gibson
No full textFascicolo cartaceo di carte n. 22; numerazione successiva per carte (1-22).
Bozza dattiloscritta ed appuntata del testo di ELEANOR J. GIBSON, 'Perceptual learning and the theory of word perception', in , Volume 2, n. 4, pp. 351-368 (1971).
Dattiloscritto in inglese. Leggibilità buona.Leggibilità buon
Box 1, Neg. No. 244: P. W. Oakes and F. J. Gibson
No full textThis black and white photograph features a portrait of P. W. Oakes and F. J. Gibson - both men are dressed in suits. P.W. Oakes and F. J. Gibson ordered the photograph.https://scholars.fhsu.edu/stafford_county/1084/thumbnail.jp
[Letter from T. J. Gibson to Truett Latimer, March 28, 1961]
No full textLetter from T. J. Gibson to Truett Latimer informing him that he has been dropped from his course due to multiple absences
Perception without sensations. The “New Psychology” of J. J. Gibson
No full textArtykuł stanowi omówienie faz rozwoju nowego, w latach 1950-1980, podejścia do zagadnienia percepcji wzrokowej, które zaproponował amerykański psycholog James J. Gibson. Odnoszący się z dużym sceptycyzmem do wyrosłej na gruncie filozofii idealistycznej kategorii wrażenia zmysłowego, Gibson znany jest ze swojej ekologicznej teorii percepcji, w której zaciera się granica między podmiotem i środowiskiem. Nie wszyscy jednak zdają sobie sprawę z tego, że nawiązując do podstawowych założeń psychologii postaci, sformułował on wiele idei, które są w stosunku do niej nowatorskie, a przeprowadzona przez niego drobiazgowa analiza pojęcia ekosystemu bardziej zbliża go do postaciowców, niż wymierzona w kategorię Gestalt krytyka go od nich oddala.The paper discusses the development of the new – in 1950-1980 – approach to the visual perception proposed by the American psychologist James J. Gibson. He is known from his skepticism about the category of sensation that emerged within the context of idealistic philosophy, and from his ecological theory of perception, wherein the boundary between the subject and environment is obliterated. However, it is not always noticed that while referring to the Gestalt psychology he formulated a lot of original ideas. His detailed analysis of the ecosystem concept makes him more akin to the Gestalt theorists, despite the fact that his criticism of the Gestalt category seems to suggest the very opposite
James J. Gibson, "L’approccio ecologico alla percezione visiva", Mimesis 2014 Conversazione di Nicola Bruno con il curatore del volume Vincenzo Santarcangelo
No full textJames J. Gibson, "The ecological approach to visual perception": interview with the editor of the italian translation Vincenzo Santarcangelo by Nicola Bruno.James J. Gibson, L’approccio ecologico alla percezione visiva, Mimesis, 2014: Nicola Bruno intervista il curatore della traduzione italiana Vincenzo Santarcangelo
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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