Postdoc Fellow, University of Bergamo
Vincenzo Santarcangelo, B.A. in Philosophy and M.A. in Philosophy and History of Ideas (University of Turin), PhD in Philosophy of Language and Mind (University of Turin), is a Postdoc Fellow at the University of Bergamo and an Adjunct Professor of «Tecniche di comunicazione e di scrittura» at the Politecnico di Torino; and teaches «Theory of Perception» at the Istituto Europeo di Design, Moda e Arti Visive (IED), in Milan, and «Philosophy of Music» at Vicenza Music Conservatory “Arrigo Pedrollo”.
He has been visiting PhD Student at the Cognition Institute of the Plymouth University, UK, from 2013 to 2015. He is associate member of Labont (University of Turin) and editor of Rivista di Estetica. His writings regularly appear on La Lettura, Corriere della Sera, Artribune and Giornale della musica. His last publications are Il suono. L’esperienza uditiva e i suoi oggetti (Raffaello Cortina, 2018) and the monographic issue of Rivista di Estetica (66/2017) «The Auditory Object», both co-authored with Elvira Di Bona (The Van Leer Jerusalem Institute).
He is the curator and translator of the Italian editions of The Ecology Approach to Visual Perception by James J. Gibson, The Imaginary Museum of Musical Works by Lydia Goehr, Hyperobjects by Timothy Morton, and The Quadruple Object by Graham Harman.
His primary research interests focus on philosophy of sound and auditory perception. His efforts are devoted to clarifying the notion of «auditory object», a concept widespread in neuroscientific literature, and now finally ripe for philosophical contribution. The interplay between (predictive) perception, attention, and memory in enabling to separate distinct and meaningful perceptual individual sounds from an undifferentiated background – and its neural correlate – is the object of his last publications.
He is also working on the relationship between auditory perception and oral communication, and on philosophy of music – focusing on the history and the aesthetics of electronic music, and on the ontological debates concerning musical genres, musical works, and improvisational practices.