With great sympathy for Roman Ingarden and his work, Edith Stein edited his book project The Literary Work Of Art. In the letters she exchanges with him shereflects on relationship between reality and ideality: she writes that those who do not see the world as a reality must be fools. The political events in the 1930s had an impact on phenomenology. While Edmund Husserl dissociates himself from his protégé Martin Heidegger with regard to the content of his philosophy as (...) well as with regard to his ideology, Edith Stein distances herself more and more from the phenomenological method, seeing it as removed from reality, and she eventually become a Carmelite nun. Roman Ingarden, on the other hand, reconsiders interpreting phenomenology as aesthetic theory. Literature and film are being re-analysed in terms of phenomenological mediality and as factors of human communication. (shrink)

In the recent literature on the nature of sound, there is an emerging consensus rejection of what might be thought of as the scientifically informed commonsense position: that sounds, whatever else they may be, must be entities that mediate between the source of the sound and the subject hearing it. This paper offers an argument for such "medial" theories of sound. This argument is intended to shift attention from the two considerations that have dominated the debate thus far: the (...) relevant scientific facts about audition and the spatial phenomenology of auditory experience. (shrink)

Husserl attempted to found logics and language on intuition, and particularly perception. The relationship between logical language and intuition is therefore one of the fundamental themes of his phenomenology. Husserl regarded the two as sharing an isomorphic structure, and this article shows that this structure can be characterized as “mediality.” That is, the “meaning” of language appears by mediation of sound or script, while the “I” as person appears by mediation of the body. I will show furthermore that intuitions (...) themselves appear through the mediation of language, and interpret this idea of mediality in terms of the Japanese language. Guided by Husserl’s notion of Sprachleib, I will also attempt an analysis of the “bodily” function of Chinese script and onomatopeia as aspects of Sprachleib and show how the Sprachleib functions as a “cultural living body” that makes community possible. (shrink)

Ever since the 1960s, media and communication studies have abounded in heated debates concerning the psychological and social effects of fictional media violence. Massive empirical research has first tried to tie film violence to cultivating either fear or aggressive tendencies among its viewership, while later research has focused on other media as well (television, video games). The present paper does not aim to settle the factual question of whether or not medial experiences indeed engender real emotional dispositions. Instead, it (...) brings into play the resources of genetic phenomenology in order to ask how the formation of such dispositions would be generally possible. Thus, it aims to further the discussion by overtly employing the framework of Husserl’s later genetic phenomenology to the field of emotional experience. By posing questions with regard to how fictional emotional experiences contribute to the formation of apperceptions and to the specificities of emotional sedimentation, it also points out some shortcomings in Husserl’s account by drawing from Freud’s dynamic theory of drives and emotions. (shrink)

This chapter offers a philosophical reflection on the truth of the medial and the state of exception. It begins with the notion that every single media carrier—be it “natural” or produced by technical means—basically allows for only two operations with signs: to save and to transfer. The entire medial economy that operates with signs makes use of these two operations. All signs have a meaningless, nonsemantic, purely formal, and simultaneously material side beyond all signification. When we confront the (...) media, we are constantly aware of the hidden presence of submedial space. Yet we are structurally incapable of seeing through it as long as we are busy looking at the medial surface. This chapter argues that the media-ontological suspicion is “objective” in the phenomenological sense, because it necessarily appears during the act of observing the medial surface. It also examines the truth of media-ontology as well as the truth of the state of exception in relation to the media-ontological suspicion that defines our perception of the medial surface. (shrink)

This chapter examines the case of exception and the truth of the medial. It begins with a discussion of different truth values that the signs on the surface of the media have: the truth of referentiality and the truth of submedial space. The truth of referentiality is scientific truth whereas medial truth concerns the truth of exception. The chapter proceeds by explaining how the truth of sincerity is lost through repetition and suggests that the truth of the submedial, (...) of the hidden subject, of media-ontological suspicion is the truth of the case of exception. It also considers how the avant-garde transports artwork into a state of exception, how the phenomenon of exception is related to the phenomenon of medial sincerity, and how new cases of exception are produced when claims of medial truth deduced from old cases of exception are critiqued. (shrink)

The practice of taking hand-written notes in lectures has been rediscovered recently because of several studies on its learning efficacy in the mainstream media. Students are enjoined to ditch their laptops and return to pen and paper. Such arguments presuppose that notes are taken in order to be revisited after the lecture. Learning is seen to happen only after the event. We argue instead that student’s note-taking is an educational practice worthy in itself as a way to relate to the (...) live event of the lecture. We adopt a phenomenological approach inspired by Vilém Flusser’s phenomenology of gestures, which assumes that a gesture like note-taking is always an event of thinking with media in which a certain freedom is expressed. But Flusser’s description of note-taking focusses on the individual note-taker. What about students’ note-taking in a lecture hall as a collective gesture? Nietzsche considered note-taking ‘mechanical,’ as if students were automatons who mindlessly transcribed a verbal flow, while Benjamin considered it an inaesthetic gesture: at best, boring; at worst, ‘painful to watch.’ In contrast, we argue that the educational potentiality of note-taking—or better, note-making—can be grasped only if we account for its mediaticity (as writing that displaces the voice), together with but distinct from its political potentiality as a collective mediality (as a ‘means without end’). Note-taking enables us to see how collective thinking emerges in the lecture, a kind of thinking that belongs neither to the lecturer nor the student, but emerges in the relation of attention established between the lecturer, students and their object of thought. (shrink)

William James described the stream of thought as having two components: (1) a nucleus of highly conscious, often perceptual material; and (2) a fringe of dimly felt contextual information that controls the entry of information into the nucleus and guides the progression of internally directed thought. Here I examine the neural and cognitive correlates of this phenomenology. A survey of the cognitive neuroscience literature suggests that the nucleus corresponds to a dynamic global buffer formed by interactions between different regions (...) of the brain, while the fringe corresponds to a set of mechanisms in the frontal and medial temporal lobes that control the contents of this global buffer. A consequence of this account is that there might be conscious imagistic representations that are not part of the nucleus. I argue that phenomenology can be linked to psychology and neuroscience and a meaningful way that illuminates both. (shrink)

It is argued that the emotional feeling comprises the following two emotional qualia. (1) A nucleus feeling or primary emotional quale, which is the phenomenological counterpart of the end product of appraisal by the central nervous system. (2) The experience of being urged to emotion-related reflection or secondary emotional quale, which is the phenomenological counterpart of the brain's decision to inhibit pre-programmed emotional behaviour, and to initiate emotion-related reflections. Different brain modules regulate these two qualia, and thus each can be (...) experienced independently of the other. The primary emotional quale is related to activation of the amygdala, it is emotion specific, and neutral with respect to affect. The secondary emotional quale is related to activation of the orbito-prefrontal cortex (O-PFC), and includes affective aspects.It is argued that emotional behaviour is regulated by the following three neural mechanisms, two of which two are directly related to the two qualia. (1) An evolutionary ancient system (amygdala-system), which comprises the amygdalae and subcortical nuclei, and which activates pre-programmed emotional behaviour. (2) An evolutionary recent system (PFC-system), comprising the prefrontal cortex, which inhibits pre-programmed emotional behaviour, activates emotional reflection, generates and evaluates behavioural alternatives. In contrast to the pre-programmed behaviour, the behavioural alternatives are more likely to serve long-term goals. (3) A default mechanism, which gives rise to default (i.e., “just do something”) behaviour. The first two systems are mutually competitive, while the third mechanism takes over if either the competition between the first two mechanisms, or the decision process of the PFC-system, takes too long. This default mechanism involves the function of the medial-prefrontal cortex (M-PFC). (shrink)

This paper offers a sustained philosophical meditation on contrasting interpretations of the emotion of shame within four academic discourses—social psychology, psychological anthropology, educational psychology and Aristotelian scholarship—in order to elicit their implications for moral education. It turns out that within each of these discourses there is a mainstream interpretation which emphasises shame’s expendability or moral ugliness (and where shame is typically described as guilt’s ugly sister), but also a heterodox interpretation which seeks to retrieve and defend shame. As the heterodox (...) interpretation seems to offer a more realistic picture of shame’s role in moral education, the provenance of the mainstream interpretation merits scrutiny. I argue that social scientific studies of the concept of shame, based on its supposed phenomenology, incorporate biases in favour of excessive, rather than medial, forms of the emotion. I suggest ways forward for more balanced analyses of the nature, moral justification and educative role of shame. (shrink)

My paper aims to lay out the main tenets of the philosophical project Eugen Fink unfolded in his post-war writings and argues that his enterprise is situated at the crossroads between two compatible yet distinct lines of inquiry: a phenomenology of mediality and a philosophical cosmology. The twofold orientation followed byFink’s radicalization of classical phenomenology can best be grasped if we pay heed to the double critical strategy he put in place in order to overcome what he deemed (...) to be the shortcomings of Husserl’s phenomenology. In the first place, Fink undertakes a “phenomenological” critique of Husserl, showing that the paradigmatic models underlying Husserl’s analysis and, most notably, the preeminence granted to the “individuated thing”, drastically limit the field available for a phenomenological description. On this account, Fink’s critique aims at expanding the domain phenomenology can explore. However, in the second place, Fink points to the limits inherent to phenomenology as such, and advocates for the necessity of supplementing phenomenology’s descriptive analysis with a speculative approach. In this sense, his project of radicalizing phenomenology is tantamount to unveiling the speculative presuppositions undergirding and orienting any descriptive inquiry. (shrink)

We provide some meta-theoretical constraints for the evaluation of a-spatial theories of sounds and auditory perception. We point out some forms of spatial content auditory experience can have. If auditory experience does not necessarily have a rich egocentric spatial content, it must have some spatial content for the relevant mode of perception to be recognizably auditory. An auditory experience devoid of any spatial content, if the notion makes sense at all, would be very different from the auditory experiences we actually (...) enjoy. This is enough to dismiss current a-spatial theories of auditory perception. As a consequence, our initial taxonomy of proximal, medial, and distal theories, as well as our phenomenological argument in favor of distal theories, are still topical. (shrink)

The paper is taking up the original research, spanning now a quarter-century, on distinguishing European cultural-historical epochs using the philosophical toolset proper. It is about an application of the phenomenological dialectic methodology within the general Platonic approach to the problem of knowledge and understanding where the former per se turns into the self-correlation of sense, while the latter appears as an embodiment of knowledge over ‘the other’, distinguished from pure knowledge ‘by a measure of reason’ of its holder. Thus any (...) thing considered in correlation with itself as a subject matter of knowledge, appears as its own idea. Correlation of an idea with its reasonable embodiment transfers a thing into the ‘medial’ domain of understanding. It is here that the particular historical comprehension of types for the above ideality, embodiment, and being a holder allows for considering epochs through the lens of ‘epochal’ ontologies. In such acts of understanding, philosophy is responsible for the love of wisdom as a synthesis of knowledge and life in its reasonable explanations, and history – for the comprehension of being in its continuous making, and culture – for the picturesquely personal expression of human history. Thus emerges a kaleidoscope of picturesquely expressed ontologies where various epochs in European history are explicitly distin- guished upon sense-bearing grounds. This philosophical ‘depicting’ shall be preceded by a definition of concept for world pictures as a European thought heritage proper. For this purpose, on the backdrop of such categories as essence, sense, reason, intelligence, eidos, idea, symbol, myth, and name, the author is preliminarily identifying here: Europe – as the idea of arranging vital space under the guidance of personality; history – as a self-realizing being in the making; personality – as an actually embodied self-consciousness; culture – as an expressed mythology of human personality. Hence, the final definition of the world picture as history is typologically expressed in culture. Article received 17.08.2019. (shrink)

Fish Night, an episode of LOVE DEATH + ROBOTS (S01E12, 2019) based on a 1982 short story by Joe R. Lansdale, can be interpreted as an allegory of the impossibility of immersive experience: if real, it is deadly, because the images are no longer such or ghosts but living beings present in a shared environmental habitat, acting with but also against the subject, in turn no longer a spectator. Comparing the story and film, and ancient ekphrastic literature, I discuss, in (...) a trans-medial imaginary genealogical perspective, the symptoms of this cultural topos and of the regressive desire for immersion and for transparent immediacy that shapes and drives it, dwelling in particular on the ambivalent phenomenological and ontological relations between living bodies, pictures and media as deep time-bending. (shrink)

This essay examines the problem of medial specificity in music and sound art, giving particular attention to Seth Kim-Cohen’s call for a non-cochlear sound art based on the notion of “expansion” that has been decisive in visual arts discourses. I argue that Kim-Cohen’s non-cochlear intervention in In the Blink of an Ear might be productively pressured towards the concept of a “sonic effect” that acknowledges the material-discursive particularity of sound without recourse to the phenomenological claims of authenticity that Kim-Cohen (...) correctly abhors. In service of this argument, the essay extensively discusses a sound and media artwork – Exurbia, created by myself and William Brent – that leverages the metaphorics of sound against existing understandings of specific forms of network communication. I argue that the conceptual and material dimensions of the project stridulate in a hum of recursive vectors for considering the constitution and consequences of networked aural interaction. Exurbia can thus be parsed in terms of medial specificity precisely because its digital aural materials are themselves discursive. (shrink)

Starting from the current trend to digitise the university, this thesis aims to clarify the specific relation between university thinking and its use of media. This thesis is an investigation concerning the sensorial and medial conditions which enable the event of thinking to emerge at the university, i.e. conditions which do not make thinking necessary, but possible. Thinking is approached as an event which can happen while studying at the university, not as an outcome, nor a disposition or skill. (...) The ambition of this thesis is theory development and of making a contribution in the field of philosophy of education. The theoretical framework discussed in chapters one and two will allow first, an analysis of the university sensorium inspired by the work of Ivan Illich who, through a history of the senses, pioneered this kind of research applied to medieval reading practices. Secondly, the work of media philosopher Vilém Flusser is used to operationalize the analysis of media at the university; this thesis will use the Flusserian concepts of code, modes of consciousness, transcoding, gestures, intellectual field, dialogue and apparatus. The methodology consists of a novel approach inspired by Flusser’s phenomenology of gestures: in order to find traces of thinking, this investigation looks for gestures (with media) occurring in university practices, gestures which seem to imply some form of coding or transcoding. The first chapter critically discusses Ivan Illich’s historical hypothesis of the mediatic specificity of the university thinking. Illich works with a particular conception of the history of the senses through which he shows how the invention of the optical text and its way of reading gave rise to a new way of thinking which was later fostered by the university. The text emerges as an instrumental way of using the book for studying and thinking, a profanation and suspension of the book. This move is taken to be the signature move of the university which enables a particular way of thinking: abstract and non-visual thinking, which is made present through the event of reading. The second chapter introduces the media-theoretical framework of Flusser by discussing his particular take on codes and the modes of consciousness enabled by the dominant codes. Provisionally, transcoding is taken to be an indication of the event of thinking. The threshold introduces the approach of a phenomenology of gestures which will be used in the following two chapters. The third chapter examines the practice of university lecturing from a sensorial and gestural perspective by using several direct observations of lectures and historical reports of lectures. It was found that the lecture does not promote any particular sense, hence no particular mode of consciousness, and that the media in the lecture suffers a continuous transcoding. Thinking in the lecture was described as a thinking which suddenly makes itself present for all those attending the lecture. The fourth chapter examines MOOCs which are taken to be the digital counterpart of the university course. The specific media usage enabled by MOOCs is described starting from two case studies: an xMOOC and the bMOOC (designed by KU Leuven and LUCA researchers). Using interviews and an autoethnographic account, this chapter finds indications of what could be digital gestures in the MOOC and concludes that thinking in the MOOC occurs as a collective construction of a techno-image. The fifth and final chapter outlines the theoretical contributions of this thesis. The kind of thinking made possible by university practices is described as a form of collective thinking, non-productive and anti-apparatus. The ways in which this thinking is made possible are theorised by introducing the notion of mediatic displacement, a specific event in which the particular logic of media is suspended in such a way as to make room for a thinking which is not determined by any mediality. The notion of intellectual askesis is proposed for the collective enactment of attention, as the sensorial condition which makes possible the mediatic displacement. In light of these findings, the thesis proposes to understand the promise of the digital university as still a utopian project to come, because it cannot yet enable the sensorial and collective attention techniques which the classical university managed to enact through its study practices. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to the CommentariesSean A. SpenceIn “Free Will in the Light of Neuropsychiatry,” I have attempted to present an argument from the perspective of materialist neuroscience, pushing the latter to its logical conclusion: that if the human nervous system is consistent in its properties, then the only place for “free will” is in the non-conscious processes which underpin conscious awareness. This argument I have based on two supports: the (...) “spatial” and the “temporal” (Spence, 1995).I have contended that the sense of freedom may be lost from certain actions, thereby implying that “freedom” is a sensory process distinct from action. This might be conceptualized as having a distinct functional distribution within the nervous system (a spatial distinction). I have also argued that conscious awareness of events occurs at a finite delay, the period of “neuronal adequacy,” after those events themselves. The point here is that neurochemical events giving rise to phenomenology are likely to require a period of time (no matter how short) for their genesis. The process is “on line” before we perceive it (a temporal distinction). Thus the “freedom to act,” a motor process, is necessarily non-conscious at the point of initiation.I am grateful to Frith, Libet and Stephens for their comments. In the most part our disagreements are likely to be those of emphasis, perhaps compounded by my uses of the term “free will.”I have no major disagreement with Frith’s comments. I would, however, emphasize that it is likely that the Bereitschaftspotential, or readiness potential, does tell us something regarding intended actions. It is, for example, absent prior to the involuntary movements seen in Tourette’s syndrome (Obeso et al. 1982), and reduced in akinetic patients with Parkinson’s disease (Dick et al. 1989) or medial frontal lobe lesions (Deecke et al. 1987). The latter groups have difficulty initiating intended, internally generated, actions.With regard to the suspicion of dualism in my diagrams, the point is well taken, but I am attempting to describe a functional distinction, the precise coordinates of which remain obscure. It may well be that “consciousness” occupies no fixed location but is an activity temporarily co-extant with that association cortex (or cortices) subserving the sensory modality (or modalities) experienced phenomenologically (see Bottini et al. 1995).I have based much of my “temporal” argument on Libet’s work, and I am grateful for his response. Nevertheless, I am still of the opinion that there is a central inconsistency with his argument that conscious control exerts a veto on acts which is somehow free of material constraints. [Indeed he states that he has “no quarrel with the view that even a fully voluntary act is initiated unconsciously (non-consciously)”.] Whereas I can [End Page 99] not prove that this power of veto does not evade neurochemical processes, or that it somehow acts instantaneously and independently, with no origin in unconscious processing, I can say that I have restricted myself to arguing within a materialist perspective, with the aim of “pushing it” to its extreme. The free will which Libet retains in consciousness is one which is unique, and unconstrained by materialism. It is dualism in disguise!Stephens implies that there is a non-argument regarding consciousness acting as an initiator of events. The suggestion is that no one would argue this. Yet this is Libet’s argument. It cannot be disproved, but it is clearly (internally) inconsistent with Libet’s own impressive body of work.As for the role of consciousness in action, I have, I think, invoked a position similar to that adopted by Stephens; that consciousness is more a sensory state, allowing awareness of actions, and their consequences, and perhaps thereby facilitating the function of non-conscious initiators. It is clearly necessary for the performance of the “higher” acts which we equate with human nature, but it is not sufficient. (Indeed many of the most creative insights have “emerged” into consciousness [see Boden, 1992].) The man with a paralyzed arm may wish for his arm to move but to no avail. Over time function may slowly reappear. But if his lesion is such that he is unaware of his impairment (anosognosia), then his prognosis may... (shrink)

Why is consciousness associated with recovery of memories that are initially dependent on the hippocampal system? A hypothesis is proposed that the medial temporal lobe/hippocampal complex (MTL/H) receives as its input only information that is consciously apprehended. By a process termed “cohesion,” the MTL/H binds into a memory trace those neural elements that mediated the conscious experience so that effectively, “consciousness” is an integral part of the memory trace. It is the phenomenological records of events (Conway 1992), integrated consciousness-content (...) packets, that are recovered when memory traces are retrieved. (shrink)

The philosophical line of inquiry opened by Edmund Husserl remains one of the most inspiring ones for contemporary thinking, insofar as it places the experiential dimension at its center. Yet its initial disposition rests upon a fundamental misunderstanding. While phenomenology scolded the traditional representationalist accounts, for which we never have the things themselves, but ever only internal representations of it, its major advanced consisted in stressing that in experience, we have the things in themselves and not just emissaries or (...) representatives. However, this advance, which we will qualify as the " principle of selfhood " led to imprudently make another assumption, that is that in experience, we do not only have the things themselves (principle of selfhood) but that we also have them immediately (principle of immediacy). A deconstructive analysis of experience provides such a postulation to be problematic: what appears (phainestai) is never given right off the bat, but appears through something else (dia phainestai). The paper indicates where a deconstruction of Husserl's theoretical framework is necessary, and sketches the transformations of phenomenology into a kind of thinking that makes space for the intermediaries of experiences. Diaphenomenology starts off with the assumption that whatever appears appears through something. Experience has to be conceived of as transphenomenality. A diaphenomenological perspective moves away from both a foundationalist account of subjectivity (where the ego is the ground for all appearances) and a merely accusative account of it (where the ego is nothing but a pole of affections). It describes the modes in which the subject is actor, albeit not author of her experiences. (shrink)

Kant's revolution in methodology limited metaphysics to the conditions of possible experience. Since, following Hume, analysis—the “method of discovery” in early modern physics—could no longer ground itself in sense or in God's constituting reason a new arché, “origin” and “principle,” was required, which Kant found in the synthesis of the productive imagination, the common root of sensibility and understanding. Charles Bigger argues that this imaginative “between” recapitulates the ancient Gaia myth which, as used by Plato in the Timaeus, offers a (...) way into this originary arché. Since it depends on myth and the “likely story” rather than on a self-certain apprehension of Being, this facilitates an imaginative approach to the natural sciences which, through its synthetic a priori formations, can claim to be Kantian. Bigger explores Kant's ethics as an alternative to metaphysics that holds open the prospect of a Good beyond Being—and phenomenology—whose traces nevertheless appear in original synthesis. Though wary of its reductive implications, Bigger uses Derrida's difference, a medial, feminine arché, as a way into this creative and procreative metaxu. As Emmanuel Levinas suggests, this is Plato's gap [chaos] between being and becoming, whose possibility, beyond both, lies in chora and the Good. This Open also presents the possibility for a new, yet still Kantian, understanding of the formal and material conditions for the natural sciences. (shrink)

Emmanuel Alloa interviewed by Benediktas Vachninas Emmanuel Alloa, Professor of Aesthetics and Philosophy of Art at the University of Fribourg, is one of the most active contemporary thinkers in the field of new visual studies. His areas of research include aesthetics, phenomenology, theories of image, theories of media, and the French philosophy. Professor Alloa has authored and (co)edited numerous books, of which, the most important ones are Looking through Images. A Phenomenology of Visual Media (Columbia University Press, 2021), (...) Dynamis of the Image. Moving Images in a Global World (De Gruyter, 2020), Partages de la perspective (Fayard, 2020), Resistance of the Sensible World: An Introduction to Merleau-Ponty (Fordham University Press, 2017). He is the recipient of the Latsis Prize 2016 and the Aby Warburg Prize 2019 and currently serves as President of the German Society of Aesthetics.In 2021, Professor Alloa gave an online cycle of lectures titled Orbis Pictus. A Media Phenomenology in an Image World at Vilnius University. This year, I had the pleasure to hold an online conversation with Professor Alloa as he kindly agreed to discuss the topic of images and his project of symptomatology. The interview encompassed questions about the relation of an image with the image theories, the differences between the symptomatological approach to images and the visual semiotics, Derrida’s contribution to the problem of mediality, and the role of images in the philosophy today.This interview was taken on the 20th of June, 2023. (shrink)

I strongly support Barzykowski and Moulin in their proposal that common retrieval mechanisms can lead to distinct phenomenological memory experiences. I emphasize the importance of one of these mechanisms, namely the attribution system. Neuropsychological studies should help clarifying the role of these retrieval mechanisms, notably in cases of medial temporal-lobe lesions and cases of dementia.

This paper connects ideas from twentieth century Gestalt psychology, experiments in vision science, and Maurice Merleau-Ponty’s phenomenology of perception. I propose that when we engage in simple sensorimotor tasks whose successful completion is open, our behavior may be motivated by practical perceptual awareness alone, responding to invariant features of the perceptual field that are invisible to other forms of perceptual awareness. On this view, we see more than we think we see, as evidenced by our skillful bodily behavior.

This chapter explores the imperceptible foundation of the play of signs that takes place on the medial surface. It begins by discussing submedial space as the space of suspicion as well as the space of subjectivity, suggesting that something invisible must be hidden behind the visible in the space beneath the medial surface. It then considers the poststructuralist philosophy of flux in relation to the problem of signification and how signification determines the relationship of the archive to the (...) “reality” outside the archive, a reality “signified” by means of archival signs. It argues that the philosophy of flux deconstructs the border between archive and profane space by emphasizing the materiality of signs, on the one hand, and by defining all ordinary things as signs, on the other. The philosophy of flux thus considers ordinary things and archival things to be interconnected via a play of differences. The media-ontological question does not concern if and how the signs on the medial surface are able to signify the submedial, hidden space. (shrink)

In her introduction to this collection, Tymieniecka presents her phenomenology of life - the leitmotif of the three-volume anniversary publication of Analecta Husserliana - as something that stands out from preceding historical attempts to investigate life in an 'integral' or 'scientific' way. After an incubation lasting throughout the 2000 years of Occidental philosophy, this scientific phenomenology/philosophy of life at last uncovers the entire area of the 'inner workings of Nature', exposing the way in which the 'sufficient reason' and (...) the 'ground' of beingness as such crystallise out of the 'onto poietic' process. This onto-poietic process, continuing as it does in the human creative condition, also reveals the authentic genius of the works of the human spirit. This new and original philosophy, free of fallacious simplifications, speculations and reductionism, opens up a basic starting point for all philosophy. Life, 'the theme of our times', at last receives a profound philosophical treatment. (shrink)

orbit and far beyond it. Indeed, the immense, painstaking, indefatigable and ever-improving effort of Husserl to find ever-deeper and more reliable foundations for the philosophical enterprise (as well as his constant critical re-thinking and perfecting of the approach and so called "method" in order to perform this task and thus cover in this source-excavation an ever more far-reaching groundwork) stands out and maintains itself as an inepuisable reservoir for philosophical reflec tion in which all the above-mentioned work has either its (...) core or its source. In fact, in his undertaking to re-think the entire philosophical enterprise as such and to recreate philosophy upon what he sought to be at least a satisfactorily legitimated basis, Husserl, through his already systematised and "authorized" work, and his courses, and later on in his spontaneous reflection (which did not find its way into a definitive corpus but was nevertheless sufficiently coherent with his previously established body of thought to be considered a continuation of it), uncovers perspectives upon the universe of man and projects their new philosophical thematisation that brings together all the attempts by philosophers (e. g., Merleau-Ponty, who drew upon this material and found there his own inspiration) who succeeded him with foundational intentions; it also gives a core of philosophical ideas and insights for the youngergenerationofphilosophers today. (shrink)

This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the (...) world in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

This book presents a detailed analysis of what it means to be absorbed in playing music. Based on interviews with one of the world’s leading classical ensembles, “The Danish String Quartet”, it debunks the myth that experts cannot reflect while performing, but also shows that intense absorption is not something that can be achieved through will, intention, prediction or planning – it remains something individuals have to be receptive to. Based in the phenomenological tradition of Husserl and Merleau-Ponty as well (...) as of Dan Zahavi and Shaun Gallagher, it lays out the conditions and essential structures of musical absorption. Employing the lived experience of the DSQ members, it also engages and challenges core ideas in phenomenology, philosophy of mind, enactivism, expertise studies, musical psychology, flow theory, aesthetics, dream and sleep studies, psychopathology and social ontology, and proposes a method that integrates phenomenology and cognitive science. (shrink)

It is always risky to make sweeping statements about the development of philosophy, but if one were nevertheless asked to describe 20th century philosophy in broad strokes, one noteworthy feature might be the following: Whereas important figures at the beginning of the century, figures such as Frege and Husserl, were very explicit in their rejection of naturalism (both are known for their rejection of the attempt to naturalize the laws of logic, i.e., for their criticism of psychologism), the situation has (...) changed considerably. Today many philosophers – not the least within analytical philosophy – would subscribe to some form of naturalism. In fact, naturalism is seen by many as the default metaphysical position. If you don’t subscribe to naturalism you must be subscribing to some form of Cartesian substance dualism. Thus, whereas 20 or 30 years ago one might have been inclined to characterize the development of 20th century philosophy in terms of a linguistic turn, a turn from a philosophy of subjectivity to a philosophy of language, it might today be more apt to describe the development in terms of a turn from anti-naturalism to naturalism. (shrink)

"The central task of phenomenology is to investigate the nature of consciousness and its relations to objects of various types. The present book introduces students and other readers to several foundational topics of phenomenological inquiry, and illustrates phenomenology's contemporary relevance. The main topics include consciousness, intentionality, perception, meaning, and knowledge. The book also contains critical assessments of Edmund Husserl's phenomenological method. It argues that knowledge is the most fundamental mode of consciousness, and that the central theses constitutive of (...) Husserl's "transcendental idealism" are compatible with metaphysical realism regarding the objects of thought, perception, and knowledge. Helpful tools include introductions that help the reader segue from the previous chapter to the new one, chapter conclusions, and suggested reading lists of primary and some key secondary sources. Key Features: Elucidates and engages with contemporary work in analytic epistemology and philosophy of mind. Provides clear prose explanations of the necessary distinctions and arguments required for understanding the subject. Places knowledge at the center of phenomenological inquiry"--. (shrink)

Phenomenology: The Basics is a concise and engaging introduction to one of the important philosophical movements of the twentieth century and to a subject that continues to grow and diversify. Yet it is also a challenging subject, the elements of which can be hard to grasp. This lucid book provides an introduction to the core ideas of phenomenology and to the arguments of its principal thinkers, including Husserl, Heidegger and Merleau-Ponty. Written by a leading expert in the field, (...) Dan Zahavi examines and explains key questions such as: What is a phenomenological analysis? What are the methodological foundations of phenomenology? What does phenomenology have to say about intentionality, embodiment, intersubjectivity and the lifeworld? How do ideas from classic phenomenology relate to ongoing debates in the cognitive sciences and qualitative research? This second edition has been thoroughly revised and expanded. It contains a new chapter on critical phenomenology and updated discussions of the application of phenomenology in psychiatry, psychology, and qualitative research. Including a glossary of key terms and suggestions for further reading, Phenomenology: The Basics is a superb starting point for anyone seeking a concise and accessible introduction to this rich and fascinating subject. (shrink)

The language theory of Mikhail Bakhtin does not fall neatly under any single rubric - 'dialogism,' 'marxism,' 'prosaics,' 'authorship' - because the philosophic foundation of his writing rests ambivalently between phenomenology and Marxism. The theoretical tension of these positions creates philosophical impasses in Bakhtin's work, which have been neglected or ignored partly because these impasses are themselves mirrored by the problems of antifoundationalist and materialist tendencies in literary scholarship. In Mikhail Bakhtin: Between Phenomenology and Marxism Michael Bernard-Donals examines (...) various incarnations of phenomenological and materialist theory - including the work of Jauss, Fish, Rorty, Althusser, and Pecheux - and places them beside Bakhtin's work, providing a contextualised study of Bakhtin, a critique of the problems of contemporary critics, and an original contribution to literary theory. (shrink)

This article presents two ways of contributing to the debate on cognitive phenomenology. First, it is argued that cognitive attitudes have a specific phenomenal character or attitudinal cognitive phenomenology and, second, an element in cognitive experiences is described, i.e., the horizon of possibilities, which arguably gives us more evidence for cognitive phenomenology views.

This note aims to clarify which arguments do, and which arguments do not, tell against Conceptualism, the thesis that the representational content of experience is exclusively conceptual. Contrary to Sean Kelly’s position, conceptualism has no difficulty accommodating the phenomena of color constancy and of situation-dependence. Acknowledgment of nonconceptual content is also consistent with holding that experiences have nonrepresentational subjective features. The crucial arguments against conceptualism stem from animal perception, and from a distinction, elaborated in the final section of the paper, (...) between content which is objective and content which is also conceived of by its subject as objective. (shrink)

This article supplements our earlier paper on synaesthesia published in JCS (Ramachandran & Hubbard, 2001a). We discuss the phenomenology of synaesthesia in greater detail, raise several new questions that have emerged from recent studies, and suggest some tentative answers to these questions.

Susanna Schellenberg's book is an ambitious project, providing a view of perception that makes sense of its content, its phenomenology, and its epistemic role. In these comments, I focus on her capacitist view and raise questions concerning this view's ability to offer an adequate account of the content and phenomenology of perceptual and hallucinatory experiences.

The topic of this paper is phenomenology. How should we think of phenomenology – the discipline or activity of investigating experience itself – if phenomenology is to be a genuine source of knowledge? This is related to the question whether phenomenology can make a contribution to the empirical study of human or animal experience. My own view is that it can. But only if we make a fresh start in understanding what phenomenology is and can (...) be. (shrink)