This paper examines the relationship of Jean-François Lyotard’s aesthetics to phenomenology, especially the works of Mikel Dufrenne and Maurice Merleau-Ponty. It argues that this comparison allows a greater understanding of Lyotard’s late aesthetic writings, which can appear gnomic and which have received relatively little critical attention. Lyotard credits Merleau-Ponty with opening the theme of difference in the aesthetic field, yet believes that the phenomenological approach can never adequately account for it. After outlining Lyotard’s early critiques of Dufrenne and Merleau-Ponty, the (...) paper will demonstrate how his late aesthetics can be understood as returning to phenomenological themes but in the form of a reversal. Lyotard’s “lesson of darkness” is that the secret power of art can never be brought into the light of phenomenal appearance, and that artworks do not testify to the birth of perception, but to its death and resurrection. (shrink)

The article shows that Habermas’s modernism and Lyotard’s postmodernism are not as antithetical as they are often taken to be. First, we argue that Habermas is not a strong foundationalist concerned with identifying universal rules for language, as postmodern critiques have often interpreted him. Instead, he develops a social pragmatics in which the communicative use of language is the fundamental presupposition of any meaningful interaction. Second, we argue that Lyotard is not a relativist who denies any universal linguistic structure. Instead, (...) he claims that language involves a universal element of dissensus that cannot be subordinated to consensus. Third, we show that neither does Habermas defend a new version of the kind of philosophy of history characteristic of the Enlightenment, nor is Lyotard a historical relativist, but instead they both seek alternatives to these positions. The conclusion calls for more nuance in the interpretation of both perspectives. (shrink)

ABSTRACTWhile Lyotard's first book was an introduction to phenomenology, most of the work that follows can be said to openly challenge the limits of phenomenological analysis. This is particularly...

This paper examines the origin of phenomenology, and delineates several of its significant developments and refractions, in order to arrive at a renewed conception of phenomenological theory and practice: a future phenomenology that can, it is argued, articulate productively with certain grounds opened up by psychoanalysis. Indo-Pacific Journal of Phenomenology , Volume 8, Edition 1 May 2008.

In concept, an image has both verticality and horizontal dimensions. Saturated images within this space have a horizon and can exceed that horizon. Within that horizon where the image dwells something chances itself upon the observer and the observed. Into that public space between self and other, students bring an instrumental approach to how they plan to deploy their new fund of knowledge, only to discover that the setting itself has become an event where surprise and upheaval disrupt their illusion (...) of self-continuity and the façade of familiarity. Phenomenologically, upheaval shows itself when givenness both precedes and participates in the giving of phenomena such as medical students’ “before and after” images of psychoanalysis. They discover and reconfigure their erstwhile absolute positions and values into reconfigurations of self and prior commitments. The turning point from their instrumental use of knowledge to reconfigurations of how they situate themselves in the world decisively comes when teaching and learning become an event in se that disturbs their sense of order.Following Husserl, phenomenological psychological observation has required us to go from the events of history to a sense of history. Would, however, that we could stay at the level of events much longer to see images explode and exceed their horizons from the illusion of order, and patterned repetition disrupted by surprise, upheaval and indeterminacy in the spirit of Alain Badiou! (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

The paper is focused on Genesis 1 – 3 where the primordial man [adàm] is created ‎and he was given the proper name Adam [adàm]. ‎ In Hebrew man and Adam are the same word, spelled the same way – [adàm]. ‎Different translations of Genesis 1-3 use for the first time the proper name Adam in ‎different places versions Gen 2:25; The German Luther ‎Bible Gen 3:8; Some English Protestant versions Gen 3:17; Bulgarian Protestant and many ‎English Protestant versions Gen (...) 3:20-21). The paper decodes the phenomenon by ‎studying the Hebrew original and several semiotic views on common and proper names ‎‎. Through these opinions the ‎important question “Who wrote the Bible?” is discussed. The analysis interfaces the new ‎linguistic relativity theory.‎ Four layers of symbolism are decoded: 1. The man became Adam; 2. The two men in ‎Gen 1:27 and in Gen 2:7 man [adàm] ‎is made by earth, ground [adamà]; 3. The two men in the New Testament ; 4. Edom, Adam and cultural discourses in both Testaments.‎. (shrink)