Abstract

This paper aims to analyse an »original phenomenological scene«, which we are designating by the expression »the gallery of Dresden«, and which refers to the inclusion of an image in an other image, ad infinitum. The paper argues that the complex images are a pattern of the complexity of the noematic strata in the Husserlian phenomenology and that they are of a great importance for the phenomenological elucidation of objectuality and for the description of the structures of the »noematic sphere’ as dual-recessive structures