The article is based on research conducted at Le Bonheur Children’s Hospital, Radiology Department (Memphis, Tennessee, USA). It examines embodied cognition embedded in radiological diagnostics relating image perception with normative judgment constitution. The research follows the causal thesis in that it is possible to grasp categories and causality via visual experience (causal impressions) and language (causal verbs), which in turn heavily depends on strategies of the enaction of imaging technology and intersubjective corroboration. In this way, the pre-reflective and intersubjective constitution (...) of categorial fulfillments of diagnostic experiences is disclosed by phenomenological ethnography of radiologists’ praxis showing how professional knowledge is structurally interrelated with certain kinesthetic and kinetic experiences, multilayered image apprehension and enactive metaphors. (shrink)

The central theme of my dissertation is Husserl’s phenomenological analysis of how we experience images. The aim of my dissertation is twofold: 1) to offer a contribution to the understanding of Husserl’s theory of image consciousness, aesthetic consciousness and art, and 2) to find out whether Husserl’s theory of the experience of images is applicable to modern and contemporary art, particularly to strongly site-specific art, unaided ready-mades, and contemporary films and theatre plays in which actors play themselves. (...) Husserl’s commentators and followers interested in his theory of the experience of images have mostly focused on the concept of “phantasy” [Phantasie] or “imagination.” Accordingly, the main interest is in the notion of the “image object” [Bildobjekt] and in the question of how something absent can appear in an image. In my dissertation, the central concept is “image consciousness” [Bildbewusstsein] which is a unique kind of experience: it involves both perception and imaging. I want to show that Husserl’s early theory of depictive image consciousness and his later theory of the experience of images can both be subsumed under the term “image consciousness”. I want to point out that Husserl’s revision of his earlier theory of image consciousness results in the distinction between depictive and non-depictive image consciousness, and that revision did not amount to an abandoning of the theory of “image consciousness.” In addition, Husserl divides depictive consciousness into positing and non-positing depictive consciousness. In my dissertation, I take the theory of image consciousness as the basis for explaining the experience of images, including the experience of visual works of art. In Husserl’s definition of art: “Without an image, there is no fine art”. The theory of image consciousness also plays an important role in explaining aesthetic consciousness since the focus is on “the How of the image object’s depicting”. My aim is to accentuate the subject in image consciousness, rather than the image object. I want to show that whether the subject is involved in image consciousness or not makes the difference if we have a two-fold or three-fold experience of seeing-in. In this way, I can also compare Husserl and Wollheim’s theories of seeing-in: a comparison that has received minimal attention in the literature of pictorial experience until now. In addition, I aim to show that according to Husserl’s theory, the image subject is involved only in depictive image consciousness. Moreover, I try to show that it is more difficult to define the image subject than the image object for the subject cannot be equated with the referent. Lastly, I will point out that Husserl mentions the possibility that it is the appearance of the subject rather than the image object appearance that we are focused on in aesthetic consciousness. Another topic that has received minimal attention until now is Husserl’s idea that depiction is involved in the experience of theatrical performance. The latter is primarily used by Husserl as an example of non-depictive image consciousness. I will examine how depiction can be involved in the experience of a theatre play in the case of actors playing themselves onstage. I will show that, in light of this example, either Husserl’s theory of depiction need to be revised or we cannot say that depiction is involved when an actor plays a real life person. Again, the key issue is how the subject appears. Thus, I will try to apply Husserl’s theory of depiction in explaining our experience of theatrical performances. I will also try to use his theory of aesthetic consciousness in describing the experience of strongly site-specific art and point out what the difficulties are of using the idea of the limited synthetic unity of the aesthetic object in the case of strongly site-specific art which seems to have no prescribed margins that could correspond to the limitedness. In addition, I will show how Husserl’s phenomenology, especially the notion of horizon, can be used to define visual art. I will defend the view that an object of art can be defined as art through an external co-determining horizon – the artworld. My dissertation is divided into four parts. In the first part, I give an overview of the development of Husserl’s philosophy from the period 1989 – 1920s with a special focus on the development of the theory of image consciousness. In that part, I introduce the notions of depictive and non-depictive image consciousness. In the second part, special focus is on the depictive image consciousness or the theory of depiction. I will first explain the phenomenological approach to the experience of images and what the difference and similarities are between Husserl and Wollheim’s theory of seeing-in. Then I give more detailed description of the three objects or objectivities in image consciousness with the emphases on the image subject. Also, how the objects are related to each other: the necessary conflicts and a resemblance in image consciousness. Lastly, I will analyse Husserl’s claim that depiction might be involved in the experience of theatrical performances and I will show what the difficulties are of applying this idea in the case of a theatre play in which actors play themselves. In the third part, I examine Husserl’s theory of aesthetic consciousness. I will first point out how the notion of “aesthetic object” is equated with that of “work of art” by Husserl. Then I will show the similarities between the aesthetic attitude and phenomenological attitude in general, and how aesthetic consciousness differs from image consciousness according to Husserl. In this vein, I will point out the difficulty of defining whether, following Husserl’s texts, we are directed to image object appearance or the appearance of the image subject in aesthetic consciousness. Lastly, I will analyse Husserl’s idea of the limited synthetic unity of the aesthetic object and whether this theory holds in the case of the experience of strongly site-specific art. In the fourth part, I will give an overview of Husserl’s notes on art and his attempt to define art. The question whether every visual work of art must be an image is also addressed. The fourth part is divided into two sections. Firstly, I will show how some of Husserl’s commentators analyse artworks as analogues to or illustrations for Husserl’s phenomenology: how some works of art are doing phenomenology. Secondly, how Husserl’s phenomenology can be used to analyse our experience of artworks. In this section, I will examine Husserl’s claim that all works of visual art are images. Also, I will show how Husserl’s notion of the external co-determining horizon can be used to define art. Some material used in my dissertation has been published in the following journals: Proceedings of the European Society for Aesthetics, South African Journal of Philosophy, 2013), Kunstiteaduslikke Uurimusi, 2014), Postgraduate Journal of Aesthetics Spring 2014). (shrink)

This article considers Edmund Husserl’s description of image consciousness from the viewpoint of the role played by attentive meaning (meinen) in the intention of the image subject. We argue that the intention of the image subject has to be interpreted in the sense of the attentive meaning as presented in the second part of Husserl’s 1904/5 lecture on Phenomenology and Theory of Knowledge. Attentive meaning performs 1) the segregation of a specific apprehension along with the attentive articulation of experience, (...) and 2), as a formative and preferential function, it introduces a difference in the objective consideration. First, we explain the connection between apprehension, attentive meaning, and object; then, we clarify the relationship between apprehension and attentive meaning in image consciousness in the 1898 manuscripts and the 1904 lecture; finally, we set forth the motivation for the intending of the image subject on the basis of the image apprehension. (shrink)

In this paper, I analyse Alison Landsberg’s concept of prosthetic memories from a phenomenological perspective. Prosthetic memory, while sharing similarities with both personal and collective memory, is neither exclusively personal nor strictly collective, emerging as a product of new media in mass communication. According to Landsberg, prosthetic memories have four main characteristics: the recaller experiences them as firsthand accounts despite not personally living through the events, these memories often revolve around traumatic events, have a commodified form, and are ethically (...) useful. Using Husserl’s theories on memory consciousness and image consciousness, and contemporary phenomenological research on violence, I provide a phenomenological account for the first three characteristics of prosthetic memory. The key factors contributing to their quasi-personal and quasi-collective nature lie, on the one hand, in the presence of imagistic violence and, on the other hand, in their mass-mediated image character. (shrink)

An innovative theory of consciousness, drawing on the phenomenology of Edmund Husserl and supported by brain-imaging, presented in the form of a hardboiled ..

Gaston Bachelard's thought remains a continual source of inspiration for a phenomenological psychology that takes human habitation as a fundamental given and as an abiding mystery of the human condition. the following essay explores the ideas Bachelard developed in the course of his study of poetry. It examines in particular his vision of imagination as a unique passage way by means of which we reach an inhabitable, intersubjective and fully human world. Within that perspective, our lives are constantly renewed (...) by the appearance of a revealing image or a telling metaphor. Each time that we are awakened by this appeal we commemorate the birth and rebirth of a human world. (shrink)

Images have always stirred ambivalent reactions. Yet whether eliciting fascinated gazes or iconoclastic repulsion from their beholders, they have hardly ever been seen as true sources of knowledge. They were long viewed as mere appearances, placeholders for the things themselves or deceptive illusions. Today, the traditional critique of the spectacle has given way to an unconditional embrace of the visual. However, we still lack a persuasive theoretical account of how images work. -/- Emmanuel Alloa retraces the history of Western attitudes (...) toward the visual to propose a major rethinking of images as irreplaceable agents of our everyday engagement with the world. He examines how ideas of images and their powers have been constructed in Western humanities, art theory, and philosophy, developing a novel genealogy of both visual studies and the concept of the medium. Alloa reconstructs the earliest Western media theory—Aristotle’s concept of the diaphanous milieu of vision—and the significance of its subsequent erasure in the history of science. Ultimately, he argues for a historically informed phenomenology of images and visual media that explains why images are not simply referential depictions, windows onto the world. Instead, images constantly reactivate the power of appearing. As media of visualization, they allow things to appear that could not be visible except in and through these very material devices. (shrink)

Among our conscious states are conscious thoughts. The question at the center of the recent growing literature on cognitive phenomenology is this: In consciously thinking P, is there thereby any phenomenology—is there something it’s like? One way of clarifying the question is to say that it concerns whether there is any proprietary phenomenology associated with conscious thought. Is there any phenomenology due to thinking, as opposed to phenomenology that is due to some co-occurring sensation or mental image? In this paper (...) we will present two arguments that a “yes” answer to this question of cognitive phenomenology can be obtained via appeal to the HOT theory of consciousness, especially the version articulated and defended by David Rosenthal. (shrink)

Lambert Wiesing's The Philosophy of Perception challenges current theories of perception. Instead of attempting to understand how a subject perceives the world, Wiesing starts by taking perception to be real. He then asks what this reality means for a subject. In his original approach, the question of how human perception is possible is displaced by questions about what perception obliges us to be and do. He argues that perception requires us to be embodied, to be visible, and to continually participate (...) in the public and physical world we perceive. Only in looking at images, he proposes, can we achieve something like a break in participation, a temporary respite from this, one of perception's relentless demands. Wiesing's methods chart a markedly new path in contemporary perception theory. In addition to identifying common ground among diverse philosophical positions, he identifies how his own, phenomenological approach differs from those of many other philosophers, past and present. As part of the argument, he provides a succinct but comprehensive survey of the philosophy of images His original critical exposition presents scholars of phenomenology, perception and aesthetics with a new, important understanding of the old phenomenon, the human being in the world. (shrink)

Traditionally the modern theory of ideas has been discussed primarily in reference to its alleged introduction of a veil of mental items between the mind and the world, which leads, through the empiricists, to radical skepticism about the existence of an external world. Here I propose to emphasize an entirely different aspect of the Cartesian theory of ideas which, in my view, is more fundamental in opening the empiricist path that leads to Hume’s radical skepticism. I argue that (...) what I call the “phenomenological presentation” model of ultimate justification is rooted in a fundamental ambiguity between sensible and intellectual apprehension insinuated by Descartes’s view of “clear and distinct” ideas together with his emphasis on the priority of intuition over logical inference. Sensible apprehension relies on immediate acquaintance with items phenomenologically and ostensively present before the mind as given particulars. The phenomenological presentation model takes its clues from sensible apprehension, although the items present before the mind might themselves be either ideas of the understanding, images of the imagination, sensory impressions, or material external objects. Intellectual apprehension, by contrast, as I illustrate with Leibniz’s model of our knowledge of concepts and truths of reason, consists in the discursive, non-ostensive grasping of the generality of abstract concepts and of formal structures . For Leibniz, all intellectual apprehension is unambiguously “logical discursive apprehension” as opposed to “direct ostensive apprehension.” Thus, Leibniz unmistakably disambiguates Descartes’s model in favor of a precise intellectual model. The empiricists, by contrast, correspondingly disambiguate Descartes’s conception in favor of an entirely sensible model. (shrink)

These supporting concepts enable us to much more adequately understand the meaning of apoha. First, a sharp distinction is drawn between the real and the conceptual; the real is particular, unique, momentary and the basis of perception, while the conceptual is universal, general, only supposedly objective and the basis of language. Second, the complex nature of negation discloses the kind of negation meant by apoha. Negation by implication is seen as disclosing the necessary relation between simple affirmations and simple negations. (...) It is in this sense that Dignaga asserts that the meaning of words lies in the negation of the opposite. Third, the idea of apoha as the differentiation of concepts is to be distinguished from the Nyāya-Vaiśe $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s}$$ ika notion of exclusion as a materially present quality in objects.Ratnakirti, and Mok $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s}$$ ākaragupta following him, use the idea of negation by implication to explain apoha as the simultaneity of and logical relation between a positive assertion concerning an epistemological object and a negative assertion concerning all things which are not that epistemological object. For example, Ratnakirti in accordance with the theory of apoha explains that the term cow “harbors” the negation of non-cow in the same way that blue is harbored in the term blue lotus. The exclusion of the other, i.e., the negation of the non-cow, is held by Ratnakirti to be an actually apprehended attribute of the cow cognized (as distinct from the cow in itself). He says “... discrimination of non-cow inevitably arises simultaneously with the perception of the cow, for (the negation of non-cow) is the qualifier (of the individual).” This interaction between the positive and the negation of the other, i.e., the relation of negation by implication, as a simultaneous interaction is necessary lest when, e.g., asked to tie up a cow one ties up a horse instead.Mok $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s}$$ ākaragupta denies three possible interpretations of apoha before putting forth his own definition. The first is that when an external object is conceptualized this is done as “the other (the dissimilar) is discriminated from this.”The second is much the same, only it is in terms of the mental image, i.e., the epistemological object rather than the ontological object as in the first. The third is that apoha means the negation of an assertion, i.e., the simple absence of the other. All three of these interpretations are unacceptable to Mok $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s}$$ ākaragupta. He defines apoha as “the affirmation (of a positive entity) qualified by discrimination (of it from all other entities).”Mok $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s}$$ ākaragupta goes on to explain this simultaneity more fully: ... those who stress affirmation think that after we have known the cow, we consequently determine the discrimination of the essence of the cow from that of the non-cow; those who stress the negative function of apoha are of the opinion that we first know the discrimination of the dissimilar thing and then consequently confirm the thing which is discriminated from others, viz., the cow. Thus (both interpretations) are wrong. For at the time of judgment we do not experience an order of comprehension in which (negation or affirmation) occurs first. In fact, it is not the case that one, having understood the affirmation, later confirms the negation by implication, or that one having understood the negation later confirms what is discriminated (from the dissimilar). Therefore, we say that the very understanding of the cow is the same as the understanding of what is discriminated from the dissimilar.We can see from this that for Ratnakirti and Mok $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s}$$ ākaragupta apoha meant the simultaneous affirmation of and negation of the dissimilar from the (epistemological) object. Mok $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s}$$ ākaragupta's concern with the “time of judgment” also shows that the idea of apoha was understood by them as being psychologically descriptive. In the process of identifying an epistemological object as some particular thing, neither the negative nor the positive function have priority but are, rather, complementary one to the other. This simultaneity and complementarity are supported by the examination of mind “at the time of judgment,” i.e., it is a psychological description of the process of identification of an epistemological object as some particular thing.It is this fact of apoha describing the process of identification which, as described above, places apoha in the inference category of sources of truth. Apoha is clearly, therefore, involved with words and concepts rather than being on the perception side where it would have to be a metaphysical concept describing the real or absolute.Putting the idea of apoha into contemporary terms we can say that it is a psychological descriptor for the bipolar relation of concepts. Dignaga and the other Buddhist logicians are then to be understood here as being involved in producing a phenomenological description of linguistic thought processes. More broadly, as in the discussion of perception, they are involved in the phenomenological description of consciousness, a favorite Buddhist undertaking. As such, the work of the Buddhist logicians fits into the larger soteriological intention of all Buddhist thinkers, since enlightenment is understood to follow from insight into the nature of consciousness as productive of suffering.Some authors have criticized the logicians as being overly concerned with the un-Buddhist occupation of arguing. However, when their work is seen as expanding our understanding of the nature and working of consciousness, the logicians are certainly worthy of our respect. (shrink)

The theory of so-called‘mental images’, which is put forward again in contemporary cognitive psychology, is criticized by way of elaborating the distinctly different intentional structures of the mental activities of‘remembering something’and‘representing something pictorially’(by means of a painting, photo, sculpture, etc.) It is suggested that psychology in its concept and theory formation could use profitably phenomenological-descriptive analyses of the different forms of intentionality as exemplified in the paper.

Bergson’s model of time (1889) is perhaps the proto-phenomenological theory. It is part of a larger model of mind (1896) which can be seen in modern light as describing the brain as supporting a modulated wave within a holographic field, specifying the external image of the world, and wherein subject and object are differentiated not in terms of space, but of time. Bergson’s very concrete model is developed and deepened with Gibson’s ecological model of perception. It is applied (...) to the problems of consciousness, direct realism, qualia and illusions. The model implies an entirely different basis for memory and cognition, and a brief overview is given for the basis of direct memory, compositionality and systematicity. (shrink)

Traditionally the modern theory of ideas has been discussed primarily in reference to its alleged introduction of a veil of mental items between the mind and the world, which leads, through the empiricists, to radical skepticism about the existence of an external world. Here I propose to emphasize an entirely different aspect of the Cartesian theory of ideas which, in my view, is more fundamental in opening the empiricist path that leads to Hume’s radical skepticism. I argue that (...) what I call the “phenomenological presentation” model of ultimate justification is rooted in a fundamental ambiguity between sensible and intellectual apprehension insinuated by Descartes’s view of “clear and distinct” ideas together with his emphasis on the priority of intuition over logical inference. Sensible apprehension relies on immediate acquaintance with items pheno-menologically and ostensively present before the mind as given particulars. The phenomenological presentation model takes its clues from sensible apprehension, although the items present before the mind might themselves be either ideas of the understanding, images of the imagination, sensory impressions, or material external objects. Intellectual apprehension, by contrast, as I illustrate with Leibniz’s model of our knowledge of concepts and truths of reason, consists in the discursive, non-ostensive grasping of the generality of abstract concepts and of formal structures . For Leibniz, all intellectual apprehension is unambiguously “logical discursive apprehension” as opposed to “direct ostensive apprehension.” Thus, Leibniz unmistakably disambiguates Descartes’s model in favor of a precise intellectual model. The empiricists, by contrast, correspondingly disambiguate Descartes’s conception in favor of an entirely sensible model.Tradicionalmente, a teoria moderna das idéias foi discutida principalmente em conexão com a sua suposta introdução de um véu de itens mentais entre a mente e o mundo que leva, por meio dos empiristas, ao ceticismo radical sobre a existência de um mundo externo. Aqui eu proponho enfatizar um aspecto completamente diferente da teoria Cartesiana das idéias que, na minha visão, é mais fundamental no que diz respeito a abrir o caminho empirista que conduz ao ceticismo radical de Hume. Eu argumento que o que eu chamo de o modelo de “apresentação fenomenológica” de justificação última está baseado em uma ambigüidade fundamental entre apreensão sensível e intelectual insinuada pela visão de Descartes de idéias “claras e distintas” junto com a sua ênfase na prioridade da intuição sobre inferência lógica. A apreensão sensível confia no contato imediato com itens presentes fenomenologicamente e ostensivamente perante a mente como particulares dados. O modelo de apresentação fenomenológica está inspirado na apreensão sensível, embora os itens que se apresentam perante a mente poderiam ser eles mesmos idéias do entendimento, figuras da imaginação, impressões sensórias, ou objetos externos materiais. A apreensão intelectual, por contraste, como eu ilustro com o modelo de Leibniz de nosso conhecimento de conceitos e verdades da razão, consiste na compreensão discursiva e não-ostensiva da generalidade de conceitos abstratos e de estruturas formais . Para Leibniz, toda a apreensão intelectual é claramente “apreensão discursiva lógica” por oposição a “apreensão ostensiva direta”. Assim, Leibniz claramente desfaz a ambigüidade do modelo de Descartes em favor de um modelo intelectual preciso. Os empiristas, por contraste, desfazem a ambigüidade da concepção de Descartes em favor de um modelo completamente sensível. (shrink)

Introduction 11 PART I: THE HALLE YEARS Chapter One: The Rehabilitation of the Imagination in Husserl’s Early Thought. 17 §1. Brentano’s Rehabilitation of Intentionality and the Problem of Imagination. §2. Husserl and the Breakthrough of Phenomenology. §2.1 The Meaning-Bestowing Act as ‘the Peg from which Everything hangs.’ §2.2 Consciousness is not a Container. §2.3 ‘A Difference that cannot be Phenomenologically Reduced.’ §3. Imagination as an Authentic, Intuitive Intentionality. PART II: THE GÖTTINGEN YEARS Chapter Two: Irreconcilable Differences: Imagination and Image Consciousness. (...) 71 §1. Separations, Convergences, and Goodbyes §2. A nothing in the midst of things that sees me. §3. Wrestling with the angel of Imagination. §4. Images of Productive Phantasy. Chapter Three: The Garden of the Forking Paths: On Time Consciousness. 107 §1. Picking up an Ancient Cross. §2. Continuum of Continua. §3. In Search of Time Lost. Chapter Four: Absence and the Absolute: The Revisions of Phantasy and Time-Consciousness. 143 Recapitulation: Cutting loose the baggage of the ‘Content for an Apprehension and Apprehension’ Schema. §1. The Concept of an Absolute Consciousness and the Embedment of Contents. §2. Transcendental Phenomenology and the Opening Up of a Closed Field. §3. The Breakthrough on the Contents of Consciousness. §3.1. ‘Consciousness through and through’ §3.2. Ambiguities of Immanence. §4. Primary and Secondary Memory revisited. §5. The New Account of Internal Time Consciousness. Chapter Five: The Breakthrough of the Life of Phantasy: Recollection and Pure Phantasy. 187 §1. Introducing the Pure Ego. §2. The Pending Problem of Belief in Presentifications. §3. Recollection and Internal Time Consciousness. §3.1. The Characterization of Recollection as Consciousness ‘Once Again’ following the Revision of the Schema. §3.2. Recollection as a Modified Appearance and a Directedness toward the Past Object. §3.3. Recollection as the Reproductive Modification of the Internal Consciousness of a Past Act. §4. The Differentiation of Recollection and Pure Phantasy on the basis of Internal Time-Consciousness. PART III: THE FREIBURG YEARS AND BEYOND Chapter Six: The Subject in Image: Husserl’s Revisiting of Image-Consciousness. 239 §1. Introducing the Concept of Perceptual Phantasy. §2. The Subject in Image. §3. Is There Temporality in Image?. §4. Revisiting the Theory of Image-consciousness as Depiction. §5. Pictoriality and Phantasy Temporality. Chapter Seven: ‘Myth that is Truest Memory:’ Phantasy and the Literary Work of Art. 303 §1. Theater and Drama. §2. Is the Literary Work of Art Itself Imaginary? §3. The Literary Work as an Idea with a Temporality. §4. Phantasy and the Consciousness of Possibility. Parting Words on Poetry and Philosophy. Bibliography: 361. (shrink)

In this paper, I assess John McDowell's paper "Avoiding the Myth of the Given" (2009) (AMG) and its theory of epistemological openness to the world. I trace its motivations back to Kantian, Sellarsian and Aristotelean roots. I argue that McDowell subscribes to a kind of Holistic Theory of Rationality (HTR). To explain the HTR, I will analyze the Sellarsian notions of the "Manifest Image," the "Myth of the Given" and the "logical space of reasons." I argue that the (...) holistic nature of McDowell's theory gives it particular properties that put it in need of conservatism, because all the elements of the theory "hang together" - i.e. cohere - in a dangerous fashion. I argue that McDowell cannot afford big changes without upsetting the apple-cart. With this in mind, I shall assess the merits and demerits of AMG, and its modified theory of perceptual content, as an attempted conservative reform of HTR. I want to argue that, taken independently, AMG is a good and important change, but taken holistically it is non-conservative, and disruptive, of the McDowellian picture. Thus, if we wish to proceed with the McDowellian path, we are led to a choice between rejecting the local reform (and retreating back to an earlier version) or demanding further explanations of its global implications. (shrink)

This article deals with a phenomenological standpoint on paradoxicality of image-consciousness, i.e., an analogical representation in which an image possesses material support. Contrary to tradition, E. Husserl thought of imagination as being both an intuitive and a mediate act. Husserl’s opinion results from paradoxical nature of an image itself: an image appears but it doesn’t exist, while the exhibited thing does exist but doesn’t appear in proper sense. The paradoxicality of an image results in its double conflict — with (...) actual present and with Bildsujet. Initially, Husserl considered that the more analogous features an image possesses the less conflict exists between it and Bildsujet, but then his own experience made him change his mind. Examining a wax figure example, he came to the conclusion that this perfectly human-like object is rather a fiction than an image for it is constituted in a position-taking intention, not in a neutralized one. However, despite we’ve got knowledge of illusory nature of such an object our consciousness keeps on fluctuating between an imaging intention and a perceptual one. Unlike Husserl neither J.-P. Sartre nor M. Richir draws a distinction between an image and an illusion. Sartre considers the imaginary in its radical form to be a world of schizophrenic. As for Richir, he supposes the imaginary to be a mass-consumption product being used for ideological manipulations. He follows Plato’s intellectual strategy and characterizes an image as εἴδωλον which represents the reality instead of reaching it. Being saturated by visible an image lacks any gap that would give an impulse to a work of imagination. At the same time, Richir admits that simulacre does relate to art, whereas an artefact doesn’t. An artefact is made by technical device which imitates not reality but consciousness. Thus, an artefact in its turn is not a reality illusion but an illusion of a reality illusion. Its hallucinatory effect makes us believe that we look into a mirror of reality as if a technical agent had better access to it than a human eye does. (shrink)

In this paper, I examine the relation between phenomenology and anthropology by placing Foucault?s first published piece, Introduction to Binswanger?s?Dream and Existence? in dialectical tension with The Order of Things. I argue that the early work, which so far hasn?t received much critical attention, is of particular interest because while OT is notoriously critical of anthropological confusions in general, and of?Man? as an empirico-transcendental double in particular, IB views?existential anthropology? as a unique opportunity to establish a new and fruitful relation (...) between transcendental forms and empirical contents. This is because IB focuses on a specific object,?Menschsein?, which is neither the transcendental subject nor an empirical being. Thus for the young Foucault existential anthropology occupies a fertile methodological middle ground between transcendental approaches and empirical forms of analysis. I first interpret anthropology in the light of phenomenology and defend the view that Menschsein is neither a transcendental structure nor a concrete particular, but as the instantiation of the first in the second. I argue that for anthropology to yield the full theoretical benefits Foucault claims for it, the particular cases of Menschsein examined in existential analysis have to be regarded as exemplary. I then read phenomenology back in the light of anthropology and examine how, for Foucault, the analysis of Menschsein in dreams benefits fundamental ontology by affording us a clearer view of some of the main existentiale than the focus on everyday waking experience in Being and Time. Finally, I turn to the limits and difficulties of this early position and my reading of it, and to their consequences for Foucault?s later view. (shrink)

The author examines critically sartre's theory of imagination as this is expounded in "l'imagination" and "the psychology of imagination." the paper is an intellectual reconstruction of sartre's position, and an attempt is made to show how sartre's analysis is close to the analysis of mental images carried out by ryle in "the concept of mind." three arguments are singled out: (1) phenomenological argument; (2) argument from the phenomenon of quasi-observation and (3) an analytic argument. the arguments are then (...) assessed in terms of their philosophical force. the paper is intended to show how main spokesmen in both the anglo-saxon and continental traditions converge in their treatments of an important epistemological issue, the nature of acts of imagining. (shrink)

This paper argues that Hans Blumenberg’s theory illuminates a novel interpretation of the phenomenological concept of the lifeworld—as a world sustained by myths and their receptions. This paper combines two central themes in Blumenberg’s philosophy: his interpretation of Edmund Husserl and his aesthetics, especially his theory of the novel and of myth. My claim to originality is to offer a mythology of the lifeworld with the help of one of Blumenberg’s less-known texts, “Wirklichkeitsbegriff und Wirkungspotential des Mythos.” (...) In the first part, I will examine a crucial aspect in Blumenberg’s reading of Husserl’s notion of the lifeworld, namely the unorthodox view that the lifeworld, as the foundation for sciences and their logos, itself has no need to resort to language. To put it mythically: the lifeworld is an expressionless state of naivety. To support this deconstructive reading, I will then turn to Blumenberg’s theory of the novel. As has been noticed by Blumenberg and his colleagues, the underlying meaning structure of the novel, or its “concept of reality,” has a typically modern character, and largely overlaps with the phenomenological idea of the world and lifeworld. However, in the second part, I will radicalize Blumenberg’s discussions about reality, and show that the novelistic reality can never fully supersede that of myth. Mythology has a persistent existence, and, in Blumenberg’s argument, the history of mythical reception reveals a perpetual movement of human struggle against terror. In this Blumenbergian philosophy of mythology, a new image of the lifeworld presents itself, a world made by the myth-telling humans, by their active and aesthetic use of words, instead of slumbers of naivety. (shrink)

In this article, I examine the relation between phenomenology and anthropology by placing Foucault's first published piece, “Introduction to Binswanger's Dream and Existence“ in dialectical tension with The Order of Things. I argue that the early work, which so far hasn't received much critical attention, is of particular interest because, whereas OT is notoriously critical of anthropological confusions in general, and of “Man” as an empirico‐transcendental double in particular, IB views “existential anthropology” as a unique opportunity to establish a new (...) and fruitful relation between transcendental forms and empirical contents. This is because IB focuses on a specific object, “Menschsein”, which is neither the transcendental subject nor an empirical being. Thus for the young Foucault, existential anthropology occupies a fertile methodological middle ground between transcendental approaches and empirical forms of analysis. I first interpret anthropology in the light of phenomenology and defend the view that Menschsein is neither a transcendental structure nor a concrete particular, but the instantiation of the first in the second. I argue that for anthropology to yield the full theoretical benefits Foucault claims for it, the particular cases of Menschsein examined in existential analysis have to be regarded as exemplary. I then read phenomenology back in the light of anthropology and examine how, for Foucault, the analysis of Menschsein in dreams benefits fundamental ontology by affording us a clearer view of some of the main existentiale than the focus on everyday waking experience in Being and Time. Finally, I turn to the limits and difficulties of this early position and my reading of it, and to their consequences for Foucault's later view. (shrink)

Some of the most innovative philosophical engagement with cinema and ethics in recent years has come from phenomenological and cognitivist perspectives. This trend reflects a welcome re-engagement with cinema as a medium with the potential for ethical transformation, that is, with the idea of cinema as a medium of ethical experience. This paper explores the phenomenological turn in film theory, emphasizing the ethical implications of phenomenological approaches to affect and empathy, emotion, and evaluation. I argue that (...) the oft-criticized subjectivism of phenomenological theories can be supplemented by cognitivist approaches that highlight the complex forms of affective response, emotional engagement, and moral allegiance at work in our experience of movies. An empathic ethics or “cinempathy” is at work in many films, I suggest, such as Ashgar Farhadi’s A Separation, which offers a striking case study in cinematic ethics. (shrink)

My dissertation consists of two main parts. In the first part, I begin by assuming the plausibility of the libertarian thesis that agents sometimes could have done otherwise than they did given the very same history of the world. In light of this assumption, I undertake to develop a model of agency which does not employ the concept of agent-causation. My agency theory is developed in three main stages: I suggest that any agency theory must satisfy four desiderata: (...) It must adequately account for the freedom and responsibility of human agents. It must provide an adequate answer to the question of what distinguishes human actions from mere happenings. It must adequately account for the epistemological fact that human agents have an immediate and nonobservational awareness of their actions. It should have the support of a respectable philosophical tradition. I argue that agent-causation provides a theory of agency which fails adequately to satisfy these four desiderata. I claim both that human actions are uncaused exercisings by agents of their powers and that human agents typically act for reasons. I maintain that the central issue dividing agency theorists and nonagency theorists is whether reasons for performing actions cause the latter. I maintain that the sense of 'because' in 'I did x because...' is not causal in nature, but teleological. ;Having developed my model of agency, in the second part of my dissertation I investigate what are some of the paradigmatic actions human agents perform. I claim that bodily actions, such as moving an arm, are psychological in nature. Essential to my argument is the concept of a body-image. A normal agent 'feels' as if she is present in her physical arm. The way a normal agent feels is revealed in the case of a phantom limb. The subject of a phantom arm feels as if her amputated physical arm is still there and she can move while feeling armishly. I maintain that the bodily action of moving an arm is the agent's movement as a psychological arm-image of her physical arm, whether the physical arm is present or not. (shrink)

In this paper, I will present an argument against Husserl’s analysis of picture consciousness. Husserl’s analysis of picture consciousness (as it can be found primarily in the recently translated volume Husserliana 23) moves from a theory of depiction in general to a theory of perceptual imagination. Though, I think that Husserl’s thesis that picture consciousness is different from depictive and linguistic consciousness is legitimate, and that Husserl’s phenomenology avoids the errors of linguistic theories, such as Goodman’s, I submit (...) that his overall theory is unacceptable, especially when it is applied to works of art. Regarding art, the main problem of Husserl’s theory is the assumption that pictures are constituted primarily as a conflict between perception/physical picture thing and imagination/picture object. Against this mentalist claim, I maintain, from a hermeneutic point of view, that pictures are the result of perceptual formations [Bildungen]. I then claim that Husserl’s theory fails, since it does not take into account what I call “plastic perception” [Bildliches Sehen], which plays a prominent role not only within the German tradition of art education but also within German art itself. In this connection, “plastic thinking” [Bildliches Denken] was prominent especially in Klee, in Kandinsky, and in Beuys, as well as in the overall doctrine of the Bauhaus. Ultimately, I argue that Husserl’s notion of picture consciousness and general perceptive imaginary consciousness must be replaced with a more dynamic model of the perception of pictures and art work that takes into account (a) the constructive and plastic moment, (b) the social dimension and (c) the genetic dimension of what it means to see something in something (Wollheim). (shrink)

This review of Emmanuel Alloa’s _Looking through Images_ considers the author’s arguments with regard to their philosophical bearings and their significance for modern visual aesthetics. Particular attention is paid to the way that the traditions of Platonic and Aristotelian Realism are linked to modern phenomenological theory (Husserl, Merleau-Ponty, Marion). Alloa’s elegant and lucid exploration of the image as a form of non-propositional cognition makes this monograph a landmark document in contemporary visual studies and aesthetic theory.

Perceptual filling-in for vision is the insertion of visual properties (e.g., color, contour, luminance, or motion) into one’s visual field, when those properties have no corresponding retinal input. This paper introduces and provides preliminary empirical support for filled/non-filled pairs, pairs of images that appear identical, yet differ by amount of filling-in. It is argued that such image pairs are important to the experimental testing of theories of consciousness. We review recent experimental research and conclude that filling-in involves brain activity with (...) relatively high integrated information (Phi) compared to veridical visual perceptions. We then present filled/non-filled pairs as an empirical challenge to the integrated information theory of consciousness, which predicts that phenomenologically identical experiences depend on brain processes with identical Phi. (shrink)

What is the concept of life that, according to Hans Jonas, can and must constitute an object of political responsibility? It is neither mechanist nor purely phenomenological, but rather has a speculative aspect. It is presented through the questions of being, self and teleology: life is a singular’s act of constant creation of itself as a world-relation. Why does Jonas desire the protection of the „image of man“? This makes sense if „image“ is understood not as a given figure, (...) but rather as man’s capacity of freedom and responsibility. If democracy happens in a world as a dialogue with others, than jonassian politics, which concern the very possibility of world and life that does not speak (as in the case of the unborn), are not democratic: yet their democratic element has to be invented. (shrink)

Through the philosophies of Bergson and Deleuze, my paper explores a different theory of time. I reconstitute Deleuze’s paradoxes of the past in Difference and Repetition and Bergsonism to reveal a theory of time in which the relation between past and present is one of coexistence rather than succession. The theory of memory implied here is a non-representational one. To elaborate this theory, I ask: what is the role of the “virtual image” in Bergson’s Matter and (...) Memory? Far from representing the simple afterimage of a present perception, the “virtual image” carries multiple senses. Contracting the immediate past for the present, or expanding virtually to hold the whole of memory (and even the whole of the universe), the virtual image can form a bridge between the present and the non-representational past. This non-representational account of memory sheds light not only on the structure of time for Bergson, but also on his concepts of pure memory and virtuality. The rereading of memory also opens the way for Bergsonian intuition to play an intersubjective role; intuition becomes a means for navigating the resonances and dissonances that can be felt between different rhythms of becoming or planes of memory, which constitute different subjects. (shrink)

In this article, I will elaborate what kind of theory of subjectivity is implied in the practice of mindfulness. This article attempts to explain Husserl’s accounts of the constitution of selfhood (as the person) and of affection in our lifestream of consciousness to develop a more complete view of “who we are” in the practice of mindfulness. The practice of mindfulness provides a path to the well-being of the person’s emotional life. What underlies the practice of mindfulness is a (...) particular image of the human mind, which is not just a brain, but a whole person with a psychic life that includes various types of activity, passivity, and embodied emotion. Moreover, the person’s habituality can still be transformed through mental exercise. If we thoroughly understand the relevant relationships between attention, emotions, and affective feelings in our living experience, we can then further confirm, from the Husserlian phenomenological point of view, the benefits of practicing mindfulness for emotional regulation. Emotion is not only a matter of affective feeling, but is also cognitive and is combined with the function of reason. (shrink)

The proliferation of digital technology has changed our visual perception and the way we interpret terms such as 'representation', 'immersion', and 'virtuality'.0Kresimir Purgar examines some of the topics fundamental to an understanding of the contemporary culture of images. The principal thesis of this volume is that we are witnessing the transitional period of images as not-representation-anymore and not-yet-immersion. Instead of just asking what images mean, we should ask ourselves what images are, how they appear, and what they do to us. (...) The author proposes the comprehensive concept of "pictorial appearing" that takes into account phenomenological, semiotic, and art-historical perspectives on both old and new images. (shrink)

In the succession of states of consciousness that constitute James’s stream of consciousness, there occur, among others, states of consciousness that are themselves, or that include, perceptual mental acts. It is assumed some of the latter states of consciousness are purely perceptual, lacking both imaginal and signitive contents. According to Husserl, purely perceptual acts present to consciousness, uniquely, their environmental objects in themselves, in person. They do not present, as imaginal mental acts do, an image or other representation of their (...) object. Husserl’s theory resembles Gibson’s with respect to perception’s being direct. Both theorists hold perceptual awareness of the environment is not a "founded" act; its proximate causation does not involve any other mental act. Both theorists contend that perceptual acts keep the perceiver directly in touch with the surrounding environment. The present article considers Husserl’s account of this directness. Although this account has problems, and is largely phenomenological description, it may help psychologists to find their way to an adequate account of the objects of perceptual consciousness — perhaps if it is integrated with Gibson’s perception theory, as I will attempt in a sequel to which this article is introductory. Husserl seeks to provide the phenomenological side of the story, Gibson the stimulus-informational side. (shrink)

This paper argues that Hans Blumenberg’s theory illuminates a novel interpretation of the phenomenological concept of the lifeworld—as a world sustained by myths and their receptions. This paper combines two central themes in Blumenberg’s philosophy: his interpretation of Edmund Husserl and his aesthetics, especially his theory of the novel and of myth. My claim to originality is to offer a mythology of the lifeworld with the help of one of Blumenberg’s less-known texts, “Wirklichkeitsbegriff und Wirkungspotential des Mythos.” (...) In the first part, I will examine a crucial aspect in Blumenberg’s reading of Husserl’s notion of the lifeworld, namely the unorthodox view that the lifeworld, as the foundation for sciences and their logos, itself has no need to resort to language. To put it mythically: the lifeworld is an expressionless state of naivety. To support this deconstructive reading, I will then turn to Blumenberg’s theory of the novel. As has been noticed by Blumenberg and his colleagues, the underlying meaning structure of the novel, or its “concept of reality,” has a typically modern character, and largely overlaps with the phenomenological idea of the world and lifeworld. However, in the second part, I will radicalize Blumenberg’s discussions about reality, and show that the novelistic reality can never fully supersede that of myth. Mythology has a persistent existence, and, in Blumenberg’s argument, the history of mythical reception reveals a perpetual movement of human struggle against terror. In this Blumenbergian philosophy of mythology, a new image of the lifeworld presents itself, a world made by the myth-telling humans, by their active and aesthetic use of words, instead of slumbers of naivety. (shrink)

According to a popular view, shared by the great atheists of the nineteenth century and by students in introductory courses on the philosophy of religion, religious belief is, at best, an edifying fiction. Given that it has apparently lost the ability to edify large sections of the population , it has also lost its only real claim to credibility. Following Hegel’s famous account of the “unhappy consciousness” in the Phenomenology of Spirit, Feuerbach and his successors diagnose religion as a symptom (...) of “alienation.” Human beings have a tendency to compensate for their own shortcomings, and those of the harsh environment they inhabit, by projecting an image of human perfection and endowing this projected image with a life of its own, thereby impeding our ability to make up for these shortcomings by our own efforts. But, so the story goes, modern intellectuals have pierced through the veil erected by human psychology, economics, and religious institutions and have seen the ideas of God, heaven, and the like for what they really are—illusions that, at best, edify the weak-minded, and, at worst, perpetuate intellectual and material bondage. Call this view atheistic fictionalism. According to the received wisdom, J. G. Fichte should occupy a prominent place in any account of the pedigree of atheistic fictionalism. On the received view, Fichte is a sort of extreme subjectivist or solipsist. So one is not surprised to learn that this Fichte was accused of atheism in 1798, and forced to relinquish his chair at Jena the following year, entering the pantheon of persecuted freethinkers alongside Giordano Bruno, Galileo, and Spinoza. (shrink)

Phenomenology, New Materialism, and Advances In the Pulsatile Imaginary: Rites Of Disimagination brings together scholars from art history and image theory, literary studies and philosophy. Chapters of this volume engage with the overarching theme of imagination as a pulsatile force embedded in words, images, and all imaginative modes of instantiation of the work of art in their elemental aspects, expressed in visual arts, and literature, as well as bodily schemata of choreographic and musical performances. The papers employ contrasting and (...) complementing methods from literary studies and image theory, especially phenomenology and new materialism, such as G. Bachelard and M. Merleau-Ponty, G. Bataille, J. Kristeva, P. Lacoue-Labarthe and J. Sallis, G. Didi-Huberman, H. Belting and A. Warburg, J. Bennett and Jason M. Wirth, as well as performance studies. Chapters in this volume inquire into the imaginative forces that disrupt and disinhibit the traditional habits of imagination to create pulsatile imaginaries, i.e., a dynamic process of “emergence-resurgence” of image manifested in the act of creation and in perception. This process does not properly imply a destruction of image, but rather a withdrawal of image from the realm of representation to give way to new images and new imaginative experiences. The newly coined term “rite of disimagination” points out to this operation, consecutively implying imagining and disimaging that both denies, as well as validates image – it valorizes matter. The affirmation of the materiality of image is “the re-incarnation of image.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Incomprehensible Certainty: Metaphysics and Hermeneutics of the Image by Thomas PfauThomas ZingelmannPFAU, Thomas. Incomprehensible Certainty: Metaphysics and Hermeneutics of the Image. Notre Dame, Ind.: University of Notre Dame Press, 2022. xxiii + 785 pp. Cloth, $80.00Thomas Pfau reconstructs one of the most traditional and possibly most decisive philosophical debates, [End Page 559] namely, the one about the form and function of appearance (Schein). This debate is taken up (...) on the basis of the concept of image. This means that Pfau concentrates historically as well as systematically on a specific topic within this debate. The book is divided into two major sections.In the first section, Pfau examines how the history of the metaphysics and theology of the image develops, starting with Plato in the first chapter. The basic idea in this section is that the image has a crucial epistemic role in the metaphysical and theological systems of the authors addressed. Here Pfau shows that Plato, at the latest in the Sophist, develops a theory of images that revalues appearance contrary to the assumptions in the Republic. Chapter 1 is about the mediation of unity and multiplicity, as it is also shown in Plotinus. Chapter 2 attempts to show how the Byzantine icon embodies the conviction that the invisible truth of the visual world can be revealed only through images. Pfau's demonstration of various epistemic dimensions of the image then begins with chapter 3: the eschatological vision from Augustine to Bonaventure to Julian of Norwich. Chapter 4, the last of the first section, reconstructs Nicholas of Cusa's position, which attempts to understand mystical visions mediated by images of Christ.The second section examines how the metaphysics of the image—in the sense of an epistemology, which tries to establish ultimate justifications—nevertheless persists and even evolves despite two crucial switches in philosophy. On the one hand, this concerns philosophy that subordinates the visual to the abstract (for example, Hegel) and, on the other, the supposedly nonmetaphysical status of the image in the developing natural sciences. Chapter 5 then attempts to show, through Goethe's botanical investigations and reflections, how, despite the establishment of the natural sciences, Goethe attempts to defend intuition as a scientific method and appearance as a scientific object of investigation. This position is then pursued historically in chapter 6, through the work of Lyell, Darwin, and Ruskin, where the visible is understood as the connecting point of the sciences in general. Gerard Manley Hopkins is then identified in chapter 7 as representing a position that combines theological with proto-phenomenological arguments to highlight the epistemic value of images. The last chapter then deals with decisive developments at the beginning of the twentieth century. In phenomenology (Husserl), painting (Cézanne), and poetry (Rilke), a conception develops that epistemically valorizes sensual and intuitive experience.Generally speaking, Pfau attempts to trace historically what arguments and positions have been developed on the relationship between image and knowledge. His work is based on the conviction that the image is the basis for human orientation in the world and is therefore of great epistemological value. Of outstanding importance for his question is that the epistemological value of images is not to be located in the properties of images, that is, an ontology of the image; rather, Pfau is interested in those positions that reflect on the relationship between knowledge and [End Page 560] experience of images. While clarifying the ontological status of images remains important, the epistemological status of images—what role the experience and usage of images has for humans—is in the foreground. Pfau reconstructs positions that hold that the pictorial is a medium of knowledge. He puts forward the thesis that there is a tradition that is of the opinion that in and through the medium of the image—and this closes the arc to the Schein-debate—being can be experienced by man. In other words, the invisible is to become recognizable through the visible. Of particular importance is his reading of the late Platonic dialogues: While appearance and being are still thought of as distinct in these dialogues, they are not opposed, in the sense of an epistemic opposition. Plato's... (shrink)

Excellent performance in sport involves specialized and refined skills within very narrow applications. Choking throws a wrench in the works of finely tuned performances. Functionally, and reduced to its simplest expression, choking is severe underperformance when engaging already mastered skills. Choking is a complex phenomenon with many intersecting facets: its dysfunctions result from the multifaceted interaction of cognitive and psychological processes, neurophysiological mechanisms, and phenomenological dynamics. This article develops a phenomenological model that, complementing empirical and theoretical research, helps (...) understand and redress choking. It aims at describing the experience of choking as experience, and to discuss strategies to palliate or prevent its onset at the pragmatic level at which athletes engage the phenomenon experientially. An overview of current empirical research and theoretical models highlights key ideas and points out contentious issues. The model describes the common structure of the choking experience. It identifies four core constitutive elements: A) disruptive proprioceptive and kinesthetic dynamics, B) a malfunctioning background or Jamesian fringe of consciousness, C) dislocated time dynamics, and D) emotional disturbances. The novelty of the remedy is that it is designed to cross disciplinary boundaries between phenomenology, historiography, and hermeneutics, and moreover connects theory to praxis as it looks at Japanese dō, practices of self-cultivation. It focuses on actual do-or-die situations, not putative ones such as important business deals or competing for a medal. To this effect, it examines medieval Japanese swordsmanship and training manuals and also engages risk sports, where death is indeed a real possibility. The manuals, which arise in the context of choke-inducing life or death duels, and risk sports, afford keen phenomenological observations and practical advice that prove invaluable for today’s sports world and beyond. (shrink)

Ever since their invention, photographic images have often been thought to be a special kind of image. Often, photography has been claimed to be a particularly realistic medium. At other times, photographs are said to be epistemically superior to other types of image. Yet another way in which photographs apparently are special is that our subjective experience of looking at photographs seems very different from our experience of looking at other types of image, such as paintings and drawings. While the (...) other seemingly distinctive aspects of photography have been quite thoroughly discussed in the literature, theories of the experience of photography, or in other words, theories of its special phenomenology, are less common. To be sure, the phenomenon has often been pointed out and described, but explanations of the phenomenology of photography are rare. In this essay, I attempt an explanation of at least part of the phenomenology of photography by appealing to the idea, borrowed from André Bazin, that a photograph is a certain kind of trace. Along the way, it is also argued that Kendall Walton's so called “transparency thesis” cannot give a plausible explanation of the phenomenology associated with looking at photographs. (shrink)

In the Interpretation of Dreams Freud asks how and if the dream, which is made of images, can express its connective structure, and in particular the negation. This can be made only by interpretation. This question represents the thread to examine the problem of the critical import of figurative arts, by comparing Adorno’s and Heidegger’s theories. According to Adorno, the artwork is mimesis: the capability to express negativity coincides with its autonegation, with its disappearing. For Heidegger, on the contrary, the (...) artwork is first of all a work, and interpretation is the reconstruction of its genesis, or better, the understanding of it as temporal. In the last part of the text the problem of the relationship between negation and image is tackled discussing Magritte’s painting «Ceci n’est pas une pipe»: the structure of this painting makes it a rebus, the deciphering of which carries a conceptual and interpretative work. Only this interpretation can account for the negation that it, as image, could otherwise not express. (shrink)

In recent years there has been much productive interaction between phenomenological authors and work in (‘4e’) cognitive science emphasizing the embodied, embedded, enactive and extended nature of cognition. These interactions have centred on areas of interest common to phenomenology and philosophy of mind, such as embodiment or first-personal experience, with language receiving relatively little attention. This paper aims to broaden these interactions by showing how phenomenology of language complements systematic empirical theories in the 4e tradition. It begins by outlining (...) a phenomenological view of language and suggesting some differences between this and plausibly naturalizable nonextended mental states. I then argue that 4e cognitive science has a general need for phenomenology of language due to the central role it attributes to ‘scaffolds’, before highlighting more specifically how phenomenology provides an image of language better suited to 4e cognitive science than the ‘rules and representations’ model from which this distances itself. (shrink)

This study aims at exposing the phenomenological description of attention as presented by Husserl in his 1904-05 Göttingen-lecture Principal Parts of the Phenomenology and Theory of Knowledge, in its relevance for the study of so-called “intuitive re-presentations”, that is, phantasy and image-consciousness. Starting with the exposition of the fundamental traits of the intentional theory of attention, this study discusses the definition of attention in the terms of meaning [Meinen] and interest, which allows it to become an encompassing (...) modification of all kinds of lived experiences that does not imply an alteration of their act-character (Husserl, 2004: 73). We refer to this character of attention as “plasticity”. In what follows, the study underlines these two definitions of attention and their importance for the understanding of phantasy and image-consciousness. Both kinds of re-presentations will be described stressing the role of attention in the “structuring” of the intentional act and in its affective basis. Finally, the study deals more specifically with the complex description of image consciousness from the viewpoint of the attentional meaning of the image subject. (shrink)

: Faraday is often described as an experimentalist, but his work is a dialectical interplay of concrete objects, visual images, abstract, theoretically-informed visual models and metaphysical precepts. From phenomena described in terms of patterns formed by lines of force he created a general explanation of space-filling systems of force which obey both empirical laws and principles of conservation and economy. I argue that Faraday's articulation of situated experience via visual models into a theory capable of verbal expression owed much (...) to his strategy of moving—via conjectural visual models—between the phenomenology of particulars (often displayed as patterns) and the general features of dynamical phenomena which he depicted as structures. (shrink)

This paper brings, for the first time, an interesting modern description of the Patricius’ phenomenological theory of tides and its modern relativistic understanding. Famous historians of science are emphasizing Patricius’ treatise on tides, which had been of primary importance for Kepler in his attempts at formulating the universal character of attraction. Patricius had tried to explain the variety of phenomena of tides in various seas as part of his model of the universe . He correctly recognized the Moon (...) and the Sun as two general causes of tides , but failed to see the role of gravity. Patricius rather ascribed tides, within the framework of his general philosophy, to be caused by light and heat . Science after Patricius explained tides as an effect of gravity , and later in the 20th century as an effect of spacetime curvature . The mathematical description of tides within Newton’s theory of gravitation was shown in the paper, along with a more refined calculation of the same phenomenon in curved spacetime within the general relativity theory for the case of weak gravitational fields . The general relativistic correction found to be very small compared to the classical Newtonian expression, as one should expect when dealing with weak gravitational fields. Both theories – Newton’s and Einstein’s – despite their precision and beauty in describing tides, do not, however, describe tides in such detail as Patricius’ theory which includes the local features of the phenomenon. At various symposia all over the world dedicated to his miraculous year of 1905 , Einstein has been recognized as the greatest physicists of the 20th century, and with Newton the two greatest physicists of all times. In the paper Patricius is understood as a direct predecessor of Kepler in the theory of tides, a hundred years before Newton. (shrink)

This piece explicates some chief modes of consciousness in phenomenology in order to show that a very significant challenge of virtuality surfaces both within, as well as outside of, the discipline. This issue is of no small importance today, where the difference between perception and imagination, real and irreal, as well as presence and absence, are all becoming increasingly vague because of new technologies and the intrinsic virtualities involved therein. In this context, the question is: Where does virtuality fit in (...) such a picture? I will argue that phenomenology can start to account for such developments, although much more explicative work will be required in the future. With this in mind, sections two to four will articulate an initial phenomenology of perception, phantasy, and image-consciousness, as found chiefly in works by Husserl and Sartre. Then, section five will question the preceding phenomenological theory through some phenomenological and non-phenomenological thinkers, who all seem to have a concept of virtuality at the heart of their work. Lastly, in the final two sections I will suggest a difference between real and irreal virtualities, and briefly mention some current virtual technologies in order to show that there is a constant and complex interplay between the real, irreal, and the virtual in many of our everyday experiences—an interplay that needs to be investigated much further if we are to make sense of how it is changing how we think and behave. (shrink)

My thesis tests a novel definition of consciousness by applying it to theories of self-consciousness. This definition attempts to distinguish the phenomenon of consciousness from those of knowledge, belief, awareness, and perception by describing it as the noticing of objects and the registering of facts in thought. My investigation of self-consciousness is phenomenological in that it leaves aside questions as to whether selves exist or what their nature is and just examines what the contents of self-consciousness are. The main (...) question, throughout the thesis, is whether there are any contents that necessarily enter self-consciousness understood as consciousness associated with meaningful use of the first personal pronoun. My answer to this question is that there are not. This answer is reached after the discussion of a range of prominent theories that have emanated from Kant. All these theories have in common that they can be phenomenologically clarified with the help of my description of consciousness. Kant’s own views of “empirical self-consciousness” are phenomenologically relatively modest; but what he says about “transcendental self-consciousness”, incorporating a priori consciousness of one’s identity, cannot be phenomenologically supported. Similar restrictions apply to Fichte’s theory, which develops the notion of transcendental self-consciousness, explicating it as consciousness of “this very consciousness”. Strawsonian theories of self-consciousness (P.F. Strawson, G. Evans, Q. Cassam) claim that self-consciousness requires some awareness of oneself as a spatiotemporally located physical object. I argue that such a claim cannot be phenomenologically substantiated. The Strawsonian theories rely on a questionable “discrimination requirement”; but even if it is assumed that they are justified in claiming that, as self-conscious beings, we have to know, believe, perceive or be aware that we are physical objects, it still does not follow that we have to be conscious, in my sense, of ourselves as such objects. There is no particular type of object that is necessarily noticed and no particular type of fact that is necessarily registered in thought by a person who can meaningfully use the first personal pronoun. In the last part of the thesis, some of the results of the earlier chapters are applied to the problem of how to explain first person authority and an explanation which is compatible with those results is suggested. (shrink)