There has been a wealth of literature on the relationship between phenomenology and psychoanalysis as well as a persistent interest in the exchange between these two forces of twentieth century philosophy.1 Even so, the relationship between the notable figures of the phenomenological tradition and psychoanalysis has been fraught: in spite of Freud being a contemporary of Husserl, having also studied with Brentano at the University of Vienna, references to Freud in Husserl's work are notably absent.2 For his part, Heidegger seems (...) to have been actively hostile to psychoanalysis, calling the conscious and the unconscious a "fatal distinction" and referring to Lacan's Écrits as an "obviously baroque text." He also... (shrink)

Is there intentionality in the inner most level of the soul? Do we have experience of what is unconscious? And, supposing that such an experience might exist, is it possible to perform reduction on it? In this regard the present paper aims to investigate, from a phenomenological point of view, the process of “raising awareness” of what is unconscious, trying to understand if there is a connection between this process and the methodological concept of “reduction” developed by Husserl. Particular attention (...) is paid to the specific type of reduction called “psychological reduction,” which, according to Husserl, provides access to the pure soul, the pure field of psychological experience. (shrink)

Is the expression “unconscious phenomena” a contradiction in terms? Do psychoanalytic discoveries compel phenomenology to adapt its methods in treating inapparent phenomena? What role does the body play in the manifestation of such phenomena? In this paper, I approach these questions (1) from within the clinical context of a post-traumatic somatization and (2) by spelling out the implications of Heidegger’s critique of Freudian psychoanalysis in the Zollikon Seminars. Drawing new critical attention to Freud’s earliest theories and methods, developed in the (...) context of the investigation into hysteria, I argue that some of his fundamental insights may be read as following basic phenomenological intuitions. Following Heidegger’s reconfiguration of the field of phenomenology, the inapparent (“that which does not show itself as itself”) may be seen as taking center stage as the exhaustive model for phenomena as such. Placing particular emphasis on a set of Heidegger’s critical notions – “semblance” [Schein],” “understanding”, “motive” [Beweggrund] and “bodying-forth” [Leiben] — I argue that somatization could be conceptualized phenomenologically as a “bodying-forth” [Leiben] of an incapacity to understand or be understood, and that a similar mis-understanding may also befall practitioners who struggle to witness trauma, thus becoming the clinician’s own symptom. (shrink)

This paper sketches a phenomenological analysis of visual mental imagery and uses it to criticize representationalism and the internalist-versus-externalist framework for understanding consciousness. Contrary to internalist views of mental imagery imagery experience is not the experience of a phenomenal mental picture inspected by the mind’s eye, but rather the mental simulation of perceptual experience. Furthermore, there are experiential differences in perceiving and imagining that are not differences in the properties represented by these experiences. Therefore, externalist representationalism, which maintains that the (...) properties of experience are the external properties represented by experience, is an inadequate account of conscious experience. (shrink)

This paper (1) sketches a phenomenological analysis of visual mental imagery; (2) applies this analysis to the mental imagery debate in cognitive science; (3) briefly sketches a neurophenomenological approach to mental imagery; and (4) compares the results of this discussion with Dennett’s heterophenomenology.

A new framework for phenomenological psychology is proposed based on Husserl’s static and genetic methods. Static phenomenology holds a eidetic psychology centred on the processes of noetic-noematic constitution and elaborates typologies and general notions about human beings in connection with the world. Genetic analysis is research into facticity, it focus on the personal history of a subject, which is constantly in the process of becoming. When the temporal dimension of consciousness is considered, the phenomenological method becomes ‘static’, as it excludes (...) the factitious dimension of self, its personal and individual history, sedimented in layers of meaning, which are in part pre-reflective, non-thematic and anonymous to the self, but which nevertheless continue to influence the experience of itself with the other and with the world. This paper aims to present some of the fundamental principals of genetic phenomenology and it’s application to existential-phenomenological psychotherapy. There are three main aspects underlying genetic-phenomenological analysis as it is being proposed: inner time-consciousness theory, the experiential self and the theory of passive geneses. (shrink)

Although better known for his phenomenology of perception and the perceived world, Merleau-Ponty’s writings also contain the outlines of a rich and unique account of the imagination and the imaginary. In this paper, I explicate the phenomenology of the image that Merleau-Ponty develops throughout his work. I show how Merleau-Ponty develops this account of the image in critical response to Sartre and in a way that follows from his own descriptions of what painters do when they paint and of what (...) we experience when we look at their paintings. The investigation of the particular mode of being of images leads to a consideration of the body and Merleau-Ponty’s later ontology. (shrink)

Desarrollamos un análisis comparativo de las vivencias del dolor físico y de la imaginación desde la perspectiva fenomenológica. Partimos de la hipótesis de que ambas vivencias forman los estados límite de la vida consciente. Nuestro objetivo es mostrar las características esenciales de dichas vivencias y para ello seguimos los textos más relevantes de la tradición fenomenológica, especialmente los de Husserl y Sartre. Los de Husserl dedicados al cuerpo vivido y a las sensaciones táctiles, por un lado, y los dedicados a (...) la conciencia de imagen y a la fantasía, por el otro, son totalmente imprescindibles, y los complementamos con los de Sartre dedicados a la imaginación. Recurrimos también a estudios fenomenológicos actuales sobre ambas vivencias. En primer lugar describiremos la vivencia del dolor físico como una auto-afección que en casos de dolor severo destruye el fundamento de la constitución de sentido que es el cuerpo vivido. En segundo lugar, describiremos la imaginación como la reproducción de una experiencia posible. La conciencia como auto-afección es opuesta a la conciencia como reproducción de modo que, efectivamente, ambas forman los limites extremos de la conciencia humana como subjetividad encarnada. (shrink)

This paper revives phenomenological elements to have a better framework for addressing the implications of technologies on society. For this reason, we introduce the motto “back to the technologies themselves” to show how some phenomenological elements, which have not been highlighted in the philosophy of technology so far, can be fruitfully integrated within the postphenomenological analysis. In particular, we introduce the notion of technological intentionality in relation to the passive synthesis in Husserl’s phenomenology. Although the notion of technological intentionality has (...) already been coined in postphenomenology, it is “in tension” with the notion of technological mediation since there are still no clear differences between these two concepts and studies on how they relate one to another. The tension between mediation and intentionality arises because it seems intuitively reasonable to suggest that intentionality differs from mediation in a number of ways; however, these elements have not been clearly clarified in postphenomenology so far. To highlight what technological intentionality is and how it differs from mediation, we turn the motto “back to the things themselves” into “back to the technologies themselves,” showing how the technologies have to be taken into consideration by themselves. More specifically, we use the concept of passive synthesis developed by Husserl, and we apply it to technologies to show their inner passive activity. The notion of the passive synthesis enables to demonstrate how technologies are able to connect to a wider (technological) environment without the subjects’ activity. Consequently, we claim that technologies have their pole of action, and they passively act by themselves. (shrink)

The concept of habit enfolds an enormous richness and diversity of meanings. According to Husserl, habit, along with association, memory, and so on, belongs to the very essence of the psychic.1 Husserl even speaks of an overall genetic “phenomenology of habitualities”. In this paper, as an initial attempt to explicate the complexity of phenomenological treatments of habit, want to trace Husserl’s conception of habit as it emerged in his mature genetic phenomenology, in order to highlight his enormous and neglected original (...) contribution in this area. I shall show that Husserl was by no means limited to a Cartesian intellectualist explication of habitual action (as commentators such as Bourdieu and Dreyfus have claimed), but attempted to characterize its complexity across the range of human individual, sub-personal, personal, social and collective experience. Habit, as we shall see, for Husserl, is intimately involved in the constitution of meaningfulness (Husserl’s Sinnhaftigkeit) and forms of sense (Sinnesgestalten) at all levels, from the level of perceptual experience, through the formation of the ego, to the development of society, history and tradition, indeed to our whole sense of the harmonious course of worldly life and to the genetic constitution of worldhood as such. Habituality, furthermore, is a key structural principle in the genetic constitution of the transcendental ego itself, as it unfolds as a concrete living and acting person in an intersubjective, cultural and historical world. (shrink)

Two disciplines have greatly contributed to a new understanding of phantasy and imagination in contemporary thought: phenomenology and psychoanalysis. These two different approaches to Phantasie developed almost simultaneously at the beginning of the twentieth century. The examination of Phantasie can focus on the concrete form of the phantasm as a unique object formation—or better, as scene. The attention can also be directed to the style of imagining as specific intentionality. Whereas the second line of research has been extensively studied in (...) the context of phenomenological investigation, psychoanalytical inquiry has greatly contributed to the understanding of the phantasm as scene. In the present paper, the author primarily examines the notion of phantasy from a phenomenological perspective. More specifically, the author intends to show the inner tensions between the concept of pure phantasy as intentional act and the manner of appearance of unclear phantasy. If we consider the essential traits of the appearances of unclear phantasies, the unclear phantasies cannot be considered as quasi-perceptions of a fictional object, since no intentional object constitutes itself in this confused dimension. (shrink)

In this paper, I wish to explore the contribution of the phenomenological reduction to a distinct form of empathy, which has been identified and called by Ratcliffe :473–495, 2012) radical empathy. This form of empathy brings to light the sense of reality experienced by the subject rather than a mere mental state. However, I shall consider whether and how the phenomenological reduction allows different interpretations of the same experience, thereby impacting on our understanding of another’s sense of reality. Far from (...) dismissing the role of the reduction, I propose a reconsideration of its relevance for radical empathy. In order to spell out my argument, I propose a case ex negativo that looks at Sartre’s and Merleau-Ponty’s different analyses of the sense of reality experienced by obsessive patients. I argue that this interpretative difference ultimately depends on two opposite uses of the reduction itself, and that Merleau-Ponty’s account offers a promising perspective to reintegrate and contextualize the phenomenological reduction into radical empathy. (shrink)

In an Appendix to his Analyses Concerning Passive and Active Synthesis dating from the early 1920s, Husserl makes the startling assertion that, unlike the mundane ego, the transcendental ego is immortal. The present paper argues that this claim is an ineluctable consequence of Husserl’s relentless pursuit of the ever deeper levels of time-constituting consciousness and, at the same time, of his increasing reliance on Leibniz’s model of monads as the true unifiers of all things, including minds. There are many structural (...) and substantive parallels between Leibniz’s monadic scheme and Husserl’s later views on the primal ego, and these points of convergence are laid out step by step in this paper. For both theorists, the monad is a self-contained system of being, one “without windows”; a monad’s experiences unfold in harmonious concatenations; a monad is a mirror of its proximate environs and comprises multiple perspectives; the unconscious is a repository of potential activation; and, most importantly of all, a monad knows no birth and death and hence is immortal. In his very last years, Husserl proposed a third ego level, below (or beyond) the mundane ego and transcendental ego - the primal ego. It is neither psychical nor physical; it permits the transcendental ego to carry out its constitutive activities, including the mundane ego’s birth and death in time; it is always in a process of becoming, and so it can never be in a state of only “having-been”, that is, dead: and hence the primal ego’s enduring cannot itself ever come to an end. Indo-Pacific Journal of Phenomenology , Volume 7, Edition 2 September 2007. (shrink)

There are two main approaches in the phenomenological understanding of the unconscious. The first explores the intentional theory of the unconscious, while the second develops a non-representational way of understanding consciousness and the unconscious. This paper aims to outline a general theoretical framework for the non-representational approach to the unconscious within the phenomenological tradition. In order to do so, I focus on three relevant theories: Maurice Merleau-Ponty’s phenomenology of perception, Thomas Fuchs’ phenomenology of body memory, and Edmund Husserl’s phenomenology of (...) affectivity. Both Merleau-Ponty and Fuchs understand the unconscious as a “sedimented practical schema” of subjective being in the world. This sedimented unconscious contributes to the way we implicitly interpret reality, fill in the gaps of uncertainty, and invest our social interactions with meaning. Husserl, however, approaches the unconscious in terms of affective non-vivacity, as a sphere of sedimentation and the horizon of the distant past which stays affectively connected to the living present. Drawing on these ideas, I argue that these two accounts can reinforce one another and provide the ground for a phenomenological understanding of the unconscious in terms of the horizontal dimension of subjective experience and a non-representational relation to the past. (shrink)

In this paper I trace Husserl’s transformation of his notion of phantasy from its strong leanings towards empiricism into a transcendental phenomenology of imagination. Rejecting the view that this account is only more incompatible with contemporary neuroscientific research, I instead claim that the transcendental suspension of naturalistic (or scientific) pretensions precisely enables cooperation between the two distinct realms of phenomenology and science. In particular, a transcendental account of phantasy can disclose the specific accomplishments of imagination without prematurely deciding upon a (...) particular scientific paradigm for its experimental investigation; a decision that is best left to the sciences themselves. (shrink)

Husserl is the philosopher who transformed the geological metaphor of sedimentation into a philosophical concept. While tracing the development of Husserl's reflections on sedimentation, I argue that the distinctive feature of Husserl's approach lies in his preoccupation with the question concerning the origins of sedimentations. The paper demonstrates that in different frameworks of analysis, Husserl understood these origins in significantly different ways. In the works concerned with the phenomenology of time consciousness, Husserl searched for the origins of sedimentation in the (...) field of subjective experience, and more precisely, in impressional consciousness. By contrast, in the later works concerned with history, he maintained that the origins of sedimentations lie in the field of historical past that stretches beyond the reach of individual experience. Building on the basis of these resources, I argue that the Husserlian concept of sedimentation has three distinct components of senses: static, genetic, and generative. In the static sense, sedimentations are modifications of retentions and necessary conditions of recollection. In the genetic sense, sedimentations are necessary for the formation of types, habits and moods, and as such, they shape present experiences. In the generative sense, sedimentations refer to what consciousness inherits from the historical tradition. (shrink)

As a phenomenological concept, absorption refers to the ego's capacity to experience the world from a displaced standpoint. The paper traces the emergence and development of this concept in Husserl...

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)

Husserl’s phenomenology of imagination embraces a cluster of different theories and approaches regarding the multi-faced phenomenon of imaginative experience. In this paper I consider one aspect that seems to be crucial to the understanding of a particular form of imagination that Husserl names pure phantasy. I argue that the phenomenon of Ego-splitting discloses the best way to elucidate the peculiarity of pure phantasy with respect to other forms of representative acts and to any simple form of act modification. First, I (...) unravel the phenomenological distinctions which, respectively, oppose phantasy to perception, on the one hand, and phantasy to other forms of the so-called “intuitive re-presentations”. Second, I introduce the difference between presentative and representative acts, arguing that this cannot help us to single out the defining feature of phantasy experiences. The third section draws again an important distinction between pure phantasy and neutrality modification, which allows me to finally determine an internal trait of phantasy experiences, which Husserl refers to as the “Ego-splitting”. In this way, I hope to contribute to a refined characterization of Husserl’s phenomenology of imagination. (shrink)

This essay accomplishes two goals. First, I explore Husserl’s study of “tension” from his 1893 manuscript, “Notes Towards a Theory of Attention and Interest,” to reveal that it comprises his de facto first analysis of instinct. Husserl there describes tension as the innate pull to execute ever new objectifications. He clarifies this pull of objectification by contrasting it to affective and volitional experiences. This analysis surprisingly prefigures a theory of drive-feelings and anticipates the idea that consciousness is both teleological and (...) autotelic. Second, I show how Husserl’s de facto account of instincts from 1893 inspires his robust philosophy of instincts from Studies concerning the Structures of Consciousness and other late manuscripts. While Husserl maintains many 1893 insights, he now claims that the instinct towards objectification comprises affective and volitional moments. Finally, I demonstrate that Husserl’s analyses of instincts throughout his life are united by the idea that consciousness possesses an essential structural lack. (shrink)

Many have deemed ineluctable the tension between Husserl’s transcendental eidetics and his Crisis method of historical reflection. In this paper, I argue that this tension is an apparent one. I contend that dissolving this tension and showing not only the possibility, but also the necessity of the successful collaboration between these two apparently irreconcilable methods guarantees the very freedom of inquiry Husserl so emphatically stressed. To make this case, I draw from Husserl’s synthetic analyses of type and concept constitution as (...) well as his later work on sedimentation and streaming-in and develop a richer modal taxonomy than the one Husserl proposed. I employ this taxonomy in an examination of the structures and conditions for the possibility of transcendental eidetic variation in order to show this method’s reliance on historically sedimented epistemic and normative resources. This reliance brings to light the necessity for a methodological critique, which is precisely what I take to be the work of teleological–historical reflection as Husserl comes to conceive it in the Crisis. (shrink)

The paper contends that transcendental phenomenology is a form of radical immanent critique able to explicate the necessary structures of meaning-constitution as well as evaluate our present situation through the historically traditionalized layers of concrete, lived experience. In order to make this case, the paper examines the critical dimension of phenomenology through the lens of one of its core conditions for possibility: the imagination. Building on—yet also departing from—Husserl’s own analyses, the paper contends that the imagination is both self- and (...) lifeworld-constituting. The imagination is anchored in our everyday senses of self and world as well as able to distance itself from being naively moored in normalized and deeply sedimented commitments. It is precisely this ‘anchored distance,’ rather than a sweeping doxic and ontic neutrality and negative freedom, that reveals the critical dimension of the imagination. (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)

Straipsnyje nagrinėjamos dvi problemos. Pirmoji – tai suvokimo ir vaizduotės santykio problema. Antroji yra vaizduotės ir pasąmonės santykio problema. Abi šias problemas jungia klausimas, ar gali sąmonė būti redukuota į pasąmonę? Taip pat straipsnyje kritikuojami bandymai sąmonę sutapatinti su vaizduote. Redukuodami suvokimą į vaizduotę, o sąmonę į nesąmoningumą užkertame kelią fenomenologiniam vaizduotės ir nesąmoningumo aprašymui, nes vaizduotę galime aprašyti tik suvokimo atžvilgiu, o nesąmoningumą – tik sąmonės atžvilgiu kaip įsisąmoninimą. Atsiminimų ir vaizduotės vaizdiniai yra taip pat susieti su aktualiais ar (...) galimais suvokimo rakursais. Perspektyvų kaitaliojimas ir varijavimas leidžia atskleisti invariantišką dalykų esmę. Bet tiktai atlikdami dvigubą redukciją ir vaizduotės ar atsiminimų vaizdinius susiedami su suvokimais ir jų asocijuota esamybe galime įsisąmoninti vaizdiniuose glūdinčius troškimus, kurių nepripažįstame savais. (shrink)