I come from a cinema studies background, with a strong emphasis on film theory and philosophy, and my scholarly trajectory assumed its first sense of direction when I encountered the world of cognitive film studies.

Since then, I gradually understood that I am principally invested in how studies on perception, especially those of philosophical nature, can help us understand more and more of our relationship with moving images.

In my current research, I develop a perception-based account of how we efficiently navigate and understand as “users” the complex systems of moving images crowding our lives. In the process, I also unearth the connections between the kinoaesthetic development of moving images, and how our lives are organized by perception.

Other (dormient) projects: analyzing the ideas and notions of the future as they were put forward by mainstream moving images in the 1980s and early 1990s; exploring the various meanings and importance of both the wish and feeling of “being there” for moving image-users.