Currently, my research activity focuses on the following topics:
A theory and a model of analysis of media experience.
This topic represents the general framework for more specific research projects. The research aims to develop a theory and a model for analysing media experiences, considered as living and lived, embodied, situated forms of social experience. The approach starts from a semiotic and culturological background, but gathers many hints from phenomenological reflection and takes into account the latest results of cognitive neuroscience. See in particular the book Semiotica dei media. Le forme dell’esperienza, summarized in the paper A Semiotic Theory of Media Experience, and the Introduction to Ruggero Eugeni & Adriano D’Aloia (eds), Neurofilmology. Audiovisual Studies and the Challenge of Neurosciences (2014).
More recently, within the context of the previous topic, I started funded research on the topic Time perception and performativity in audiovisual experiences: editing, camera movements, action and narrative manipulations. A neurofilmological approach (Prin project 2015 Perception, Performativity, and Cognitive Sciences). For papers, presentations and news about the research advancements, please see the Milano Unit research site.
The post-media condition
This field of research addresses the post-media user experiences taking place in contemporary ordinary life; it especially takes into account the intimate fusion between media practices and other kinds of social experience such as surveillance, commerce, housing, relational behaviours, and so on. My goal is to understand how such phenomena contribute to make evident (or at the opposite to hide) some contemporary political and social trends. See in particular the papers Lytro. The Camera as Hypersensor; Nikeplatz. The Urban Space as a New Medium ; Glassroots surveillance. Google Glass as dispositive and apparatus
Cinema and hypnosis: a constitutive relationship.
This field of research investigates the relationships between cinema and hypnosis, and considers the hypnosis as a key feature of the film experience. The field of Research is divided into two parts. The first one traces the genesis of the “modern” device of hypnosis, on which is based the metaphorical shift towards the cinematic experience. The second part analyzes the cinematic depictions of hypnosis in film history, with the intention of tracing a hidden story of the meta representation of cinema device into movies. See especially the volume La relazione d’incanto, summarized in the article The Phantom of the relationship, the Poverty of Cinema and the Excesses of Hypnosis, and the papers Lost memories. Regressions of Time and Style in Filmic Representations of Hypnotic Apparatus and The imaginary screen. Gestures and dispositives in filmic representations of hypnosis (1915-1922).
Tags: film studies; media studies; film semiotics; media semiotics; cinema semiotics; consciousness; experience; situated cognition; intermediality; urban spaces; hypnotism; enunciation; neurocognitive sciences; time perception; time evaluation; time experience;