Experimental phenomenology is the study of appearances in subjective awareness. Its methods and results challenge quite a few aspects of the current debate on consciousness. A robust theoretical framework for understanding consciousness is pending: current empirical research waves on what a phenomenon of consciousness properly is, not least because the question is still open on the observables to be measured and how to measure them. I shall present the basics of experimental phenomenology and discuss the current development of experimental phenomenology, (...) its main features, and the many misunderstandings that have obstructed a fair understanding and evaluation of its otherwise enlightening outcomes. (shrink)

Recent research has suggested that not all grapheme-colour synaesthetes are alike. One suggestion is that they can be divided, phenomenologically, in terms of whether the colours are experienced in external or internal space. Another suggestion is that they can be divided according to whether it is the perceptual or conceptual attributes of a stimulus that is critical. This study compares the behavioural performance of 7 projector and 7 associator synaesthetes. We demonstrate that this distinction does not map on to behavioural (...) traits expected from the higher–lower distinction. We replicate previous research showing that projectors are faster at naming their synaesthetic colours than veridical colours, and that associators show the reverse profile. Synaesthetes who project colours into external space but not on to the surface of the grapheme behave like associators on this task. In a second task, graphemes presented briefly in the periphery are more likely to elicit reports of colour in projectors than associators, but the colours only tend to be accurate when the grapheme itself is also accurately identified. We propose an alternative model of individual differences in grapheme-colour synaesthesia that emphasises the role of different spatial reference frames in synaesthetic perception. In doing so, we attempt to bring the synaesthesia literature closer to current models of non-synaesthetic perception, attention and binding. (shrink)

In this famous work by a pioneer in the movement to free art from the bonds of tradition—a work long considered essential to understanding the evolution of 20th-century art—Kandinsky explores the role of the line, point and other key elements of non-objective painting. 127 illustrations.