"a work that can be read at and from multiple 'places' and multiple times, offering different perspectives to not only phenomenologists or philosophers, but also to artists, filmmakers, art and film theorists and critics, literary theorists"
"It offers to both aesthetics and art/literary/film criticism a new perspective and even a new method or approach, through phenomenology, but also it offers to phenomenology a new aesthetic and artistic/literary/cinematographic dimension."
Marina Christodoulou in: https://reviews.ophen.org/2024/04/19/claudio-rozzoni-the-phenomenological-image-review (02.07.2024)
Claudio Rozzoni, Università degli Studi di Milano, Milan, Italy.
Our environment is changing rapidly, as is the spectrum of possible relationships we can entertain with it. Against this background, one important task emerging in contemporary philosophical discussion concerns defining the status of contemporary images and the "iconic spaces" we encounter with ever-increasing frequency in their various forms.
Within this context, the dimension of perception seems to be losing its primacy over the image, making a philosophical deillegalscription of the relationships between image and reality all the more necessary. Among images, the classical distinction between documentary and fiction has been drastically called into question, and along with it the nature of the emotions and values we experience in these two domains.
Rozzoni promotes a phenomenology of the image, that is, a return to a deillegalscription of images that starts from their essential features while avoiding simplistic dichotomies. By elucidating images´ intimate relationship with phantasy and aesthetic experience and their role in shaping our experience of "reality," this book develops a perspectival notion of "truth" intended to shed light on our contemporary interactions with images and the events, emotions, and values we experience through them.
Winner of the Italian Society of Aesthetics SIE 2024 Prize for the category "International Original Work".
Our environment is changing rapidly, as is the spectrum of possible relationships we can entertain with it. Against this background, one important task emerging in contemporary philosophical discussion concerns defining the status of contemporary images and the "iconic spaces" we encounter with ever-increasing frequency in their various forms.
Within this context, the dimension of perception seems to be losing its primacy over the image, making a philosophical deillegalscription of the relationships between image and reality all the more necessary. Among images, the classical distinction between documentary and fiction has been drastically called into question, and along with it the nature of the emotions and values we experience in these two domains.
Rozzoni promotes a phenomenology of the image, that is, a return to a deillegalscription of images that starts from their essential features while avoiding simplistic dichotomies. By elucidating images' intimate relationship with phantasy and aesthetic experience and their role in shaping our experience of "reality," this book develops a perspectival notion of "truth" intended to shed light on our contemporary interactions with images and the events, emotions, and values we experience through them.