Phenomenology is explored as a way of helping students and educators open up to music as a creative and transformative experience. I begin by introducing a simple exercise in experimental phenomenology involving multi-stable visual phenomena that can be explored without the use of complex terminology. Here, I discuss how the “phenomenological attitude” may foster a deeper appreciation of the structure of consciousness, as well as the central role the body plays in how we experience and form understandings of the worlds (...) we inhabit. I then explore how the phenomenological attitude may serve as a starting point for students and teachers as they begin to reflect on their involvement with music as co-investigators. Here I draw on my teaching practice as a percussion and drum kit instructor, with a special focus on multi-stable musical phenomena. To conclude, I briefly consider how the phenomenological approach might be developed beyond the practice room to examine music’s relationship to the experience of culture, imagination and “self.”. (shrink)

The phenomenological technique of imaginative variation was identified by Husserl as conducive to elucidating the manner in which phenomena appear to consciousness. In brief, by engaging in the phenomenological reduction and using imaginative variation, phenomenologists are able to describe the experience of consciousness, having stepped outside of the natural attitude through the epoché. Imaginative variation is a stage aimed at explicating the structures of experience more distinctively, and is best described as a mental experiment. Features of the experience are imaginatively (...) altered in order to view the phenomenon under investigation from varying perspectives. Husserl envisaged this process as ultimately definitive of the essential elements of an experience, as only those aspects that are invariant to the experience of the phenomenon will not be able to change through the variation.Often in qualitative research interviews, participants struggle to articulate or verbalise their experiences. The purpose of this paper is to present a radically novel way of using imaginative variation as an interview technique by engaging the participants in imaginative variation in order to elicit a richly detailed and insightful experiential account of a phenomenon. We will discuss how the first author successfully used imaginative variation in this way in her study of the erotic experience of bondage, discipline, dominance and submission, and sadism and masochism, before considering the usefulness of this technique when applied to areas of study beyond human sexuality. (shrink)

Existential psychotherapy places pivotal significance upon the inter-relational aspects of human experience. By so doing, the therapeutic relationship itself becomes the principal means through which the client’s presenting symptoms and disorders are disclosed as direct expressions and outcomes of the client’s overall “way of being” rather than as isolated and disruptive impediments. At the same time, existential therapy emphasises the actual relationship that emerges between psychotherapist and client and argues that it is via the contrast and comparison of this lived (...) experience with that of their ‘wider world’ experience that clients can find the means to reconsider and reconstruct their “ways of being”. This paper seeks to demonstrate that, as well as their shared aims and methods of enquiry, it is the mutual emphasis upon inter-relatedness as a foundational value for human enquiry that reveals substantive and intriguing points of connection between existential psychotherapy and phenomenological enquiry. The paper furthermore argues that existential psychotherapy might best be viewed as a clearly formulated expression of phenomenological enquiry. (shrink)

Phenomenology has been with us for many years, and yet grasping phenomenology remains a difficult task. Heidegger, too, experienced this difficulty and devoted much of his teaching to the challenge of working phenomenologically. This article draws on aspects of Heidegger’s commentary in progressing the teaching and learning of phenomenology, especially as this pertains to research in fields such as education. Central to this task is elucidation of what I believe to be the most important feature of phenomenology—what Heidegger referred to (...) as the ‘starting point’ of phenomenology. I have written this article in the manner of a phenomenological workshop with the intention of inviting the reader to engage experientially with this starting point. (shrink)

The anthropology of consciousness is a field of enormous and demanding scope. In this article, there is no attempt to address all of the current trends in thinking and research; rather, the aim was to draw a line through the field that extends from the 19th century and European philosophies to some contemporary expressions of those philosophies in social science research. In particular, taking the original project of Edmund Husserl, an approach to the phenomenological investigation of the nature of consciousness (...) and, in addition, states of consciousness is proposed in the form of “existential grammars.” The treatment is propaedeutic: The ideas presented here are part of an on-going, long-term project tied to cross-cultural and experimental research on consciousness. However, the short-term outcomes are promising in elucidating the foundational questions not only about consciousness but also about specific areas of interest such as healing and the nature of scientific investigation itself. One important direction in this work is to illuminate, where possible, the pre-reflective rationalities of human experience, of consciousness itself, in such a way that we might generate codes of consciousness ultimately not as the equivalent of genetic models, but as descriptors of the core matrix of consciousness out of which alterations of consciousness might be better understood. (shrink)

Most of us would agree that the world of our experience is different than the extramental reality of which we are a part. Indeed, the evidence pertaining to cultural cosmologies around the globe suggests that virtually all peoples recognize this distinction—hence the focus upon the "hidden" forces behind everyday events. That said, the struggle to comprehend the relationship between our consciousness and reality, even the reality of ourselves, has led to controversy and debate for centuries in Western philosophy. In this (...) article, we address this problem from an anthropological perspective and argue that the generative route to a solution of the experience–reality "gap" is by way of an anthropologically informed cultural neurophenomenology . By this we mean a perspective and methodology that applies a phenomenology that controls for cultural variation in perception and interpretation, coupled with the latest information from the neurosciences about how the organ of experience—the brain—is structured. (shrink)

Could a person ever transcend what it is like to be in the world as a human being? Could we ever know what it is like to be other creatures? Questions about the overcoming of a human perspective are not uncommon in the history of philosophy. In the last century, those very interrogatives were notably raised by American philosopher Thomas Nagel in the context of philosophy of mind. In his 1974 essay What is it Like to Be a Bat?, Nagel (...) offered reflections on human subjectivity and its constraints. Nagel’s insights were elaborated before the social diffusion of computers and could not anticipate the cultural impact of technological artefacts capable of materializing interactive simulated worlds as well as disclosing virtual alternatives to the “self.” In this sense, this article proposes an understanding of computers as epistemological and ontological instruments. The embracing of a phenomenological standpoint entails that philosophical issues are engaged and understood from a fundamentally practical perspective. In terms of philosophical praxis, or “applied philosophy,” I explored the relationship between human phenomenologies and digital mediation through the design and the development of experimental video games. For instance, I have conceptualized the first-person action-adventure video game Haerfest (Technically Finished 2009) as a digital re-formulation of the questions posed in Nagel’s famous essay. Experiencing a bat’s perceptual equipment in Haerfest practically corroborates Nagel’s conclusions: there is no way for humans to map, reproduce, or even experience the consciousness of an actual bat. Although unverifiable in its correspondence to that of bats, Haerfest still grants access to experiences and perceptions that, albeit still inescapably within the boundaries of human kinds of phenomenologies, were inaccessible to humans prior to the advent of computers. Phenomenological alterations and virtual experiences disclosed by interactive digital media cannot take place without a shift in human kinds of ontologies, a shift which this study recognizes as the fundamental ground for the development of a new humanism (I deem it necessary to specify that I am not utilizing the term “humanism” in its common connotation, that is to say the one that emerged from the encounter between the Roman civilization and the late Hellenistic culture. According to this conventional acceptation, humanism indicates the realization of the human essence through “scholarship and training in good conduct” (Heidegger 1998, p. 244). However, Heidegger observed that this understanding of humanism does not truly cater to the original essence of human beings, but rather “is determined with regard to an already established interpretation of nature, history, world, and […] beings as a whole.” (Heidegger 1998, p. 245) The German thinker found this way of embracing humanism reductive: a by-product of Western metaphysics. As Heidegger himself specified in his 1949 essay Letter on Humanism, his opposition to the traditional acceptation of the term humanism does not advocate for the “inhuman” or a return to the “barbaric” but stems instead from the belief that the humanism can only be properly understood and restored in culture as more original way of meditating and caring for humanity and understanding its relationship with Being.). Additionally, this study explicitly proposes and exemplifies the use of interactive digital technology as a medium for testing, developing and disseminating philosophical notions, problems and hypotheses in ways which are alternative to the traditional textual one. Presented as virtual experiences, philosophical concepts can be accessed without the filter of subjective imagination. In a persistent, interactive, simulated environment, I claim that the crafting and the mediation of thought takes a novel, projective (In Martin Heidegger’s 1927 Being and Time, the term “projectivity” indicates the way a Being opens to the world in terms of its possibilities of being (Heidegger 1962, pp. 184–185, BT 145). Inspired by Heidegger’s and Vilem Flusser’s work in the field of philosophy of technology as well as Helmuth Plessner’s anthropological position presented in his 1928 book Die Stufen des Organischen und der Mensch. Einleitung in die philosophische Anthropologie, this study understands the concept of projectivity as the innate openness of human beings to construct themselves and their world by means of technical artefacts. In this sense, this study proposes a fundamental understanding of technology as the materialization of mankind’s tendency to overcome its physical, perceptual and communicative limitations.) dimension which I propose to call “augmented ontology.”. (shrink)

This study is a kind of applied phenomenology, or more precisely, of applied phenomenological hermeneutics. I argue that phenomenologists hardly analyze concrete phenomena but prefer to engage in theoretical debates, and therefore I call for more applied studies. The case of a patient who suffered a cerebralhemorrhage is used in order to reconstruct how she slowly regained everyday sense-connexions. The case is very interesting as the patient was rather disoriented when waking up from an artificial coma of several weeks, and (...) it took her many years to fully recover. The goal of this paper is to describe some aspects of this process from a subjective perspective as well as from a participant observer’s viewpoint. The data used for this chapter mainly stem from in-depth qualitative interviews. The structures of the life-world of Alfred Schutz are used to analyze the processes of sense constitution. This proves helpful but the data also suggest a revision of Schutz’s analyses in some respects. (shrink)

This paper uses Schrag's framework to analyze an episode of pain and to discuss the phenomenological perspective of pain. The experience of pain is explicated through the metaphor of co-present, interwoven fields of consciousness, embodiment, attitudinal posture and custom, time, and space. Interventions based on the metaphor are discussed.

A Study of Perennial Philosophy and Psychedelic Experience, with a Proposal to Revise W. T. Stace’s Core Characteristics of Mystical Experience ©Ed D’Angelo 2018 -/- Abstract -/- According to the prevailing paradigm in psychedelic research today, when used within an appropriate set and setting, psychedelics can reliably produce an authentic mystical experience. According to the prevailing paradigm, an authentic mystical experience is one that possesses the common or universal characteristics of mystical experience as identified by the philosopher W. T. Stace (...) in his 1960 work Mysticism and Philosophy. Stace’s common characteristics of mystical experience are the basis for the Hood Mysticism Questionnaire, which is the most widely used quantitative measure of mystical experience in experimental studies of psychedelic experience. In this paper, I trace the historical roots of Stace’s common characteristics of mystical experience back to Christian Neoplatonism and apophatic theology, and I trace those, in turn, back to Plato’s concept of the Good and to Aristotle’s concept of God as active intellect. I argue that Stace’s common characteristics of mystical experience are not universal or culturally invariant but are the product of a specifically Christian religious and moral tradition that has its roots in ancient Greek metaphysics. My paper concludes with a revised list of common characteristics of psychedelic experience that is a better candidate for a list of invariant structures of psychedelic experience than Stace’s common characteristics of Christian mystical experience. (shrink)

The thesis argues that the notion of film consciousness deepens a wide-range of philosophical issues in ways which are only accessible through film experience. These issues, directly related to the continental tradition, deal with consciousness, experience, intentionally and meaning. We look to the implications of the initial acts of film reproduction as it creates 'images' of the world which reconceptualise vision in terms of space, time and dimension. We move from ontology to experience and examine an aesthetic form with radical (...) implications for spectator consciousness. These issues are explored from two philosophical positions. Firstly, phenomenology, especially Edmund Husserl and Maurice Merleau-Ponty. Secondly, the work of Gilles Deleuze who presents the most penetrating insights to date into film consciousness and its repercussions for thought and affectivity. The focus of this study is to draw together these two philosophical positions, showing their fundamental differences but also similarities where they exist. This approach is rarely attempted but the belief running through this thesis is that film is one arena which is invaluable for making such comparisons. It is argued philosophically that film writes large key phenomenological concepts on intentionality, time-consciousness and the relation of the lifeworld to the predicative. In terms of Deleuze, film is shown as a unique artform which in allowing us to link otherwise casts light on Deleuze's own complex system of thought. Chapters 1-3 are concerned with phenomenology and detail the role of film in terms of the lifeworld, intentionally, reduction and the transcendental in a way which has not been attempted elsewhere. The linking chapter on time is used to introduce the work of Henri Bergson and its influence both on phenomenology's inner time-consciousness and Deleuze's fundamental categories of film movement and time imagery. The final two chapters look at the way film is reconfigured through montage and the implications of this for film's unique expression of movement and time. (shrink)