What forms of consciousness can the subject have of her body in action? This is a recurrent issue in contemporary research on skilled movement and expertise, and according to a widespread view, the body makes itself inconspicuous in performance in favour of the object or goal that the activity is directed to. However, this attitude to consciousness in bodily performance seems unsatisfying for an understanding of skilled action, and the work of several researchers can be seen as responding to this (...) view: Montero, Legrand, Ravn and others in the philosophy of expertise and of dance have developed various notions of consciousness and cognition to account for the mindful processes at play in performance. Two related questions can be distinguished here: 1. Is there an inherent conflict between skilled action and at least more than marginal awareness of that action, or is it possible – and even desirable – to reflect on our own performance without considerably impeding on it? 2. What forms of consciousness pertaining to the body in action must we distinguish in order to answer the first question? This paper gives an overview of this discussion, focusing on the second issue, although the first will come into play in so far as it is linked with the latter question. Drawing on Merleau-Ponty’s analyses of bodily reflection and on dancers’ descriptions, I show that there is, in phenomenological terms, a bodily level of reflection: a fully conscious and exploratory activity that is led by the skilled body, and that is explicitly aimed at by many performers. (shrink)

Emotion is traditionally described as a phenomenon that dominates the subject because one does not choose to be angry, sad, or happy. However, would it be totally absurd to conceive emotion as behaviour and a manifestation of the spontaneity and liberty of consciousness? In his short text, Esquisse d''une theorie des émotions, Sartre proposes a phenomenological description of this psychological phenomenon. He distinguishes between constituted affectivity, which gives rise to emotions, and an original affectivity lacking intentionality, and tied closely to (...) bodily processes. It appears that emotion is first and foremost a magical attitude toward the world, an attitude freely adopted by the subject. Against what is often written, this thesis doesn''t mean that emotion would be a pure comedy but only that, in spite of appearances, this behaviour isn''t a matter of what Descartes calls soul''s passions. (shrink)

El artículo explora el sentido en que tanto Kant como Husserl entienden lo trascendental y la importancia de este concepto para sus respectivas filosofías. El autor aborda esta relación con la intención de mostrar que ambos filósofos parten de una reflexión radical sobre las condiciones de posibilidad de la experiencia, llegando a conclusiones diferentes sobre ésta. Se pasa revista de las consecuencias de establecer una filosofía trascendental y la enorme diferencia que ambos autores establecen sobre el tema de la experiencia (...) como articuladora de lo trascendental en sus respectivas filosofías. (shrink)

In this paper, I start with the opposition between the Husserlian project of a phenomenology of the experience of time, started in 1905, and the mathematical and physical theory of time as it comes out of Einstein’s special theory of relativity in the same year. Although the contrast between the two approaches is apparent, my aim is to show that the original program of Husserl’s time theory is the constitution of an objective time and a time of the world, starting (...) from the intuitive giveness of time, i.e., from time as it appears. To show this, I stress the structural similarity between Husserl’s original question of time and the problem of a phenomenology of space constitution as it was first developed in the his manuscripts from the nineteenth century, in which we find the threefold question of the origin of our representation of space, of the geometrization of intuitive space, and of the constitution of transcendent world space. Finally, I reconsider some of Husserl’s main theses about the phenomenological constitution of objective time in light of the main results of special relativity time-theory, introducing several corrections to central assumptions that underlie Husserl’s theory of time. (shrink)

Borrowing conceptual tools from Bergson, this essay asks after the shift in the temporality of life from Merleau‐Ponty's Phénoménologie de la perception to his later works. Although the Phénoménologie conceives life in terms of the field of presence of bodily action, later texts point to a life of invisible and immemorial dimensionality. By reconsidering Bergson, but also thereby revising his reading of Husserl, Merleau‐Ponty develops a nonserial theory of time in the later works, one that acknowledges the verticality and irreducibility (...) of the past. Life in the flesh relies on unconsciousness or forgetting, on an invisibility that structures its passage. (shrink)

Husserl’s concept of subjectivity doesn’t bound to its logical and episte­­mological aspects, but it extends to its ethic und aesthetic dimensions. The external perception constitutes the original and founding experience of transcendental life. Moreover the per­­ception’s trend to a complete vision of the things moves the whole subject and explains its dynamism. This trend is just an ideal, which any kind of sub­­jective effort could realize. However Husserl considers some experiences, which imply the subject’s “liberation” from the passivity of a (...) tendency to a total intuition of the objects. That’s the case of the aesthetic consideration of the images. Beside she announces a peculiar way of relationship with the world and the others, but in another way as the perception. (shrink)