The aim of this paper is twofold. The first is an interpretative one as I wish to provide a detailed account of Husserl’s conception of experiential justification. Here Ideas I and Introduction to Logic and Theory of Knowledge: Lectures 1906/07 will be my main resources. My second aim is to demonstrate the currency and relevance of Husserl’s conception. This means two things: Firstly, I will show that in current debates in analytic epistemology there is a movement sharing with Husserl the (...) basic idea that certain experiences gain their justificatory force simply from their distinctive phenomenal character. Secondly, I shall reveal the benefits of Husserl’s specific version of this view. Thus, one of my aims is to show that debates in current analytic epistemology could profit from adopting certain Husserlian elements. More precisely, I will defend Husserl’s claim that perceptual experiences are justifiers due to their self-giving phenomenal character as opposed to the currently popular view that it is the phenomenology of pushiness that makes them justifiers. To put it differently, what matters is what is originally given within experience and not how you feel about what is given. (shrink)

The aim of this paper is to shed light on and develop what I call a phenomenological conception of experiential justification. According to this phenomenological conception, certain experiences gain their justificatory force from their distinctive phenomenology. Such an approach closely connects epistemology and philosophy of mind and has recently been proposed by several authors, most notably by Elijah Chudnoff, Ole Koksvik, and James Pryor. At the present time, however, there is no work that contrasts these different versions of PCEJ. This (...) paper not only bridges this gap, but also reveals problems in current versions of PCEJ. Consequently, I argue for a new version of PCEJ that focuses on what is given within experience and not on how what is given pushes me towards believing something. (shrink)

Contemporary accounts on fictional emotions, i.e., emotions experienced towards objects we know to be fictional, are mainly concerned with explaining their rationality or lack thereof. In this context dominated by an interest in the role of belief, questions regarding their phenomenal quality have received far less attention: it is often assumed that they feel “similar” to emotions that target real objects. Against this background, this paper focuses on the possible specificities of fictional emotions’ qualitative feel. It starts by presenting what (...) I call the “phenomenological question” about the qualitative feel of fictional emotions (section 1) and by showing that this is irreducible to questions about their cognitive, intentional, evaluative, and embodied nature (section 2). Drawing on some insights from early phenomenologists, the next two sections elaborate criteria to distinguish between real and sham emotions on the one side (section 3) and between genuine and non-genuine emotions on the other (section 4). Finally, I apply this orthogonal distinction to the particular case of fictional emotions (section 5). The paper argues that fictional emotions are neither sham emotions nor quasi-emotions, but full-fledged emotional experiences, despite them displaying the distinctive phenomenology of emotions experienced as non-genuine. In the particular case of fictional emotions, they are non-genuine because our psychology is in fact in a state dominated by aesthetic enjoyment. (shrink)

In the Logical Investigations, Ideas I and many other texts, Husserl maintains that perceptual consciousness involves the intentional “animation” or interpretation of sensory data or hyle, e.g., “color-data,” “tone-data,” and algedonic data. These data are not intrinsically representational nor are they normally themselves objects of representation, though we can attend to them in reflection. These data are “immanent” in consciousness; they survive the phenomenological reduction. They partly ground the intuitive or “in-the-flesh” aspect of perception, and they have a determinacy of (...) character that we do not create but can only discover. This determinate, non-representational stratum of perceptual consciousness also serves as a bridge between consciousness and the world beyond it. I articulate and defend this conception of perceptual consciousness. I locate the view in the space of contemporary positions on phenomenal character and argue for its superiority. I close by briefly arguing that the Husserlian account is perfectly compatible with physicalism (this involves disarming the Grain Problem). (shrink)

Husserl’s official account of essence is modal. It is also, I submit, incompatible with the role that essence is supposed to play, especially relative to necessity, in his overall philosophy. In the Husserlian framework, essence should rather be treated as a non-modal notion. The point, while not generally acknowledged, has been made before (by Kevin Mulligan for one); yet the arguments given for it, though perhaps sound, are not Husserlian. In this paper I present a thoroughly Husserlian argument for that (...) claim, as well as a Husserlian essentialist account of necessity. I also discuss the role of grounding within the account. (shrink)

I reconstruct the notion of significance [_Sinnhaftigkeit_] in the later Husserl, with attention to his conceptions of judgment and transcendental logic. My analysis is motivated by the idea that an account of significance can help to connect analytic, Anglo-American conceptions of meaning as a precise, law-governed phenomenon investigated via linguistic analysis and Continental European conceptions of meaning in a broader “existential” sense. I argue that Husserl’s later work points to a transcendental-logical conception of a founding level of _significance_ [_Sinnhaftigkeit_] prior (...) to language, and that this conception meets characteristically analytic demands for precision and governance by logical constraints. At the same time, since it is based in descriptions of perceptual intentionality at the level of essential possibility, it leaves room for an account of meaning as a partially undetermined phenomenon of lived experience, and not just of our language and concepts, and thereby meets the characteristically Continental demand to take at face value meaning’s vagueness and indeterminacy in everyday human life. (shrink)

In Husserl’s Account of our Consciousness of Time, James Mensch brings extensive research to his explication of Husserl’s phenomenology of inner time-consciousness and provides an original interpretation of Husserl’s position. The text begins with a review of several philosophers of time who influenced Husserl: Aristotle, Augustine, Kant, James, and Brentano. With these sections, Mensch sets up his own analysis of Husserl’s phenomenology of time. He then works through Husserl’s descriptions of our experience of time, addressing retention and protention, the ego, (...) consciousness, intersubjectivity, affectivity, the instincts, and the body. Mensch identifies an ‘‘aporia’’ in Husserl’s work on time, such that ‘‘time-constituting phenomena’’, i.e., retention and protention, are described on the one hand as timeless and pre-individual, and on the other hand (in various manuscripts) as associated with the instincts and drives. He then suggests, as a conclusion to his work, that the body is the source of retention and protention, and thus of temporality. (shrink)

Despite the recent increase of interest in the work of Merleau-Ponty there is still a persistent tendency to overlook the uniqueness of the philosophical position he advances in Phenomenology of Perception. In this article I present a reading of Merleau-Ponty’s account of the phenomenological reduction that explains how it is original. I do this by contrasting his presentation of the reduction with that of the early Husserl, highlighting how his emphasis on the phenomenology of the ‘perceived world’ leads him to (...) reject Husserl’s conception of phenomenology as a ‘philosophical science,’ and the Kantian language in which the this account is framed. I go on to critically discuss the interpretations of the reduction advanced by Stephen Priest and Joel Smith as examples of readings that fail to fully grasp Merleau-Ponty’s account of the ‘natural attitude’ as resting on the inherent objectivizing structure that is built into perception itself. The way that these authors misinterpret Merleau-Ponty helps to make maximally clear the profound philosophical significance that he places on the phenomenology of the ‘perceived world’. (shrink)

The objective of this work is to carry out a genetic study on the Husserlian concept of noema based in the givenness of the real body in the passive experience of pain. The development focuses, either, on the delimitation of the painful body given in its physical sphere in attention to its material properties, and in the eventual integration of this passively given body in the so-called noetic-noematic structure regarding the intentional revelation that pain implies. To do this, pain will (...) first be briefly examined in light of "original" passivity. Secondly, the way in which the body is given in its real disposition and its understanding as a bodily ego in experiencing pain will be contemplated. Thirdly, considering the “original” constitution of the body in pain in a broad sense, emphasis will be placed on its correspondence with intentionality, a matter that only confirms that pain is a form of perception. Finally, the deployment of the genetically viewed noema is given on the basis of the determination of the real body as a noematic object. (shrink)

With the exception of James Ostrow’s 1990 study, social sensitivity has received scarce attention in philosophy, whilst it has become an important area of research in social and clinical psychology, where it is commonly known as interpersonal sensitivity. The latter is usually understood as a form of social skill to appropriately recognise and decode the appearance and behaviour of others. However, this view suffers from conceptual limitations in that it tends to reduce social sensitivity to standardised skilful behaviour. Drawing on (...) Husserl’s phenomenology of perception, I disambiguate social sensitivity from social skills, arguing that the former builds on the receptivity of habit to beliefs and cognitive dissonance. In this revised sense, social sensitivity informs processes of attitude change that challenge ingrained dispositions and potentially defy social codes and expectations. (shrink)

This work focuses on augmented reality glasses and its aim is to analyse the knock-on effects on our everyday world and ourselves yielded by this kind of technology. Augmented reality is going to be the most diffused technology in our everyday life in the near future, especially augmented reality mounted on glasses. This near future is not only possible, but it seems inevitable following the vertiginous development of AR. There are numerous kinds of different prototypes that are going to come (...) out next year. Therefore, a study on how these modifications yield knock-on effects on the constitution of the object and subject is mandatory. This work tackles the topic starting from a phenomenological and post-phenomenological point of view and it analyses the modification yielded by such technology from a perceptual point of view using the analysis of the horizons of the object made by Husserl. We need this analysis because it is not only the hypothetical future that may never come, but it is the likely future very close to us that is putting pressure on us. (shrink)

An act’s form of apprehension determines whether it is a perception, an imagination, or a signitive act. It must be distinguished from the act’s quality, which determines whether the act is, for instance, assertoric, merely entertaining, wishing, or doubting. The notion of form of apprehension is explained by recourse to the so-called content-apprehension model ; it is characteristic of the Logical Investigations that in it all objectifying acts are analyzed in terms of that model. The distinction between intuitive and signitive (...) acts is made, and the notion of saturation is described, by recourse to the notion of form of apprehension. (shrink)

This paper seeks to provide a noetic analysis of emotional trauma. It highlights three essential features of trauma, as well as one non-essential feature, and attempts to make sense of them phenomenologically. The first essential feature of trauma that the paper considers is the disbelief that pervades traumatic experience. When traumatized, we cannot believe that the traumatic event has taken place. This is because we will, not for the event not to have happened—we cannot will something that is in the (...) past—but to believe that it did not happen so as to shield ourselves from our painful emotional response to it. The second essential feature of trauma is our inability to distinctly categorially intuit the central state of affairs around which our trauma revolves. The traumatic situation is literally unthinkable by us, for it is incongruent with both our expectations regarding the subject of the trauma and our horizon of sense more generally. The third essential feature of trauma is the temporal disorientation that it brings about. Such disorientation arises from our prolonged and single-minded attention to an increasingly complex categorial object: the traumatic situation. Finally, the paper considers a non-essential feature of trauma, namely, how traumatic experience can motivate phenomenological and scientific reactions. (shrink)

The systematic importance of the eidetic account of phantasy for Husserlian phenomenology in general is undisputed, but whether this account can be relevant for Aesthetics has often been put into question. In this paper I argue that Husserl’s rich phenomenology of phantasy, and in particular his account of perceptual phantasy, can nevertheless significantly enhance our understanding of how we recognize and imaginatively participate in artistic fictions. Moreover, I show how Husserl’s peculiar formulation of a non-intuitive phantasy at stake in artistic (...) representation anticipates some uses of the imagination in Aesthetics suggested by Ernst Gombrich and Kendall Walton. (shrink)

This article examines the philosophical role of illness. It briefly surveys the philosophical role accorded to illness in the history of philosophy and explains why illness merits such a role. It suggests that illness modifies, and thus sheds light on, normal experience, revealing its ordinary and therefore overlooked structure. Illness also provides an opportunity for reflection by performing a kind of suspension (epoché) of previously held beliefs, including tacit beliefs. The article argues that these characteristics warrant a philosophical role for (...) illness. While the performance of most philosophical procedures is volitional and theoretical, however, illness is uninvited and threatening, throwing the ill person into anxiety and uncertainty. As such it can be viewed as a radical philosophical motivation that can profoundly alter our outlook. The article suggests that illness can change the ways in which we philosophise: it may shape philosophical methods and concerns and change one's sense of salience and conception of philosophy. (shrink)

The phenomenological method has been fruitfully used to study the experience of illness in recent years. However, the role of illness is not merely that of a passive object for phenomenological scrutiny. I propose that illness, and pathology more generally, can be developed into a phenomenological method in their own right. I claim that studying cases of pathology, breakdown, and illness offer illumination not only of these experiences, but also of normal function and the tacit background that underpins it. In (...) particular, I claim that the study of embodiment can be greatly enhanced, and indeed would be incomplete, without attending to bodily breakdown and what I term bodily doubt. I offer an analogy between illness and Husserl’s epoché, suggesting that both are a source of distancing, and therefore motivate a reflective stance. (shrink)

The article is based on research conducted at the actual radiology department. It presents a range of descriptions and analyses of concrete operations performed by radiologists during their daily professional routine. After careful ethnographic observations, phenomenological analysis is employed with a view to examining the enactive cognition in the radiologist’s “life-world”. The paper uses both ethnography and phenomenology in order to reveal the essential regularities and sedimentations of everyday radiological processes, and the “everyday background” of certain scientific-cognitive operations. The method (...) of research includes “enactive proofs”— observations and analysis of the externalization of a radiologist’s professional memory through the enaction of medical imaging and imageconsciousness. The findings of this research have much to offer to both philosophy and radiological praxis. While the observations strongly support the development of enactive phenomenology, critique of representationalism, primacy of inference in cognition, and shared intentions, they also provide insight into concrete operations in coping with radiology’s paraphernalia, habituality, the origin of mistakes, multilayered communication, and improving professional praxis. (shrink)

Foundationalism and coherentism are two fundamentally opposed basic epistemological views about the structure of justification. Interestingly enough, there is no consensus on how to interpret Husserl. While interpreting Husserl as a foundationalist was the standard view in early Husserl scholarship, things have changed considerably as prominent commentators like Christian Beyer, John Drummond, Dagfinn Føllesdal, and Dan Zahavi have challenged this foundationalist interpretation. These anti-foundationalist interpretations have again been challenged, for instance, by Walter Hopp and Christian Erhard. One might suspect that (...) inconsistencies in Husserl’s writings are the simple reason for this disagreement. I shall argue, however, that the real question is not so much how to read Husserl, but how to define foundationalism and that there is overwhelming textual evidence that Husserl championed the most tenable version of foundationalism: a moderate foundationalism that allows for incorporating coherentist elements. (shrink)

Husserl claims that his phenomenological–epistemological system amounts to a “universal” form of empiricism. The present paper shows that this universal moment of Husserl’s empiricism is why his empiricism qualifies as a rationalism. What is empiricist about Husserl’s phenomenological–epistemological system is that he takes experiences to be an autonomous source of immediate justification. On top of that, Husserl takes experiences to be the ultimate source of justification. For Husserl, every justified belief ultimately depends epistemically on the subject’s experiences. These are paradigms (...) of empiricist claims and thus Husserl seems to subscribe to empiricism. However, what is universal about Husserl’s “empiricism” is that he does not limit the concept of experiences to sensory experiences or sensory experiences plus introspective intuitions but broadens the concept of experience such that also a priori intuitions are included. Husserl insists that logical, mathematical, and phenomenological intuitions such as ~, 2 + 2 = 4, and “Experiences necessarily bear the mark of intentionality” provide non-inferential justification analogous to how sensory experiences can non-inferentially justify beliefs such as “There is a table in front of me.” Importantly, Husserl makes clear that such a priori intuitions are not about our concepts but about reality. This is why Husserl’s universal empiricism is a rationalism. Husserl differs from traditional rationalism as he allows that a priori intuitions can be fallible and empirically underminable. This distinguishes Husserl’s rationalism from Descartes’ and makes him a proponent of moderate rationalism as currently championed by Laurence BonJour. (shrink)

This article tries to examine Husserl's theory of signification and reference, while presenting a content-oriented view of theory of intentionality and proposing the theory of the ideality of meaning, and thus explores the relation between Being and consciousness under the category of "objectivity" in logical investigation; Because the relationship between Being and consciousness must be sought at the intersection of theory of intentionality and objectivity. This intersection can be proposed in the truth condition of the objectivity of meaning, which acts (...) as the decisive result of Husserl's theory of signification and reference; to this reason, after presenting Husserl's critique of Brentano's causal theory of intentionality, this paper introduces a adverbial reading of theory of intentionality which is Husserl's specific theory of intentionality in logical investigation. According to this theory, the subject always pays attention to the object from his perspective, and this is called the perspectival subjectivity, which is the intrinsic characteristic of the subject. We will then show that the theory of the ideality of meaning is the result of the threefold structure of Husserl's intentionality and the content-oriented view of intentionality. Contrary to the claim of this theory that its true and inherent characteristic is intentionally its phenomenological aspect, the theory of reference and its corresponding meaning cannot satisfy the condition of the objectivity of meaning; Thus, theory of intentionality is based on an inadequate content-oriented attitude. (shrink)

Husserlian Essentialism is the view, maintained byEdmundHusserl throughout his career, that necessary truths obtain because essentialist truths obtain. In this thesis I have two goals. First, to reconstruct and flesh out Husserlian Essentialism and its connections with surrounding areas of Husserl's philosophy in full detail – something which has not been done yet. Second, to assess the theoretical solidity of the view. As regards the second point, after having presented Husserlian Essentialism in the first two chapters, I raise a serious (...) problem for it in Chapter 3. In the remainder of the thesis I endeavour to solve the problem. In order to do so, I propose to amend both Husserl's theory of essence and his theory of predication. The bulk of the emendation consists in working out an account of essence and an account of predication that do not presuppose, or in any way imply, the claims that: 1) for a universal to be in the essence of an object, either the object or one of its parts must instantiate the universal; 2) for a universal to be truly predicated of an object, either the object or one of its parts must instantiate the universal. These claims, notice, apart from being what gets Husserl in trouble, are well entrenched not only in Husserl's, but in most theories of essence and predication. It is thus interesting to see what an alternative option may be – even regardless of the Husserlian setting in which I work it out. (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)