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)

In this article I address the idea that in Husserl’s eidetic ontology all possibilities are fixed ‘in advance’ so that actual objects and events—despite their contingency—can only ever unfold possibilities that are ‘permitted’ to them by their essences. I show how this view distorts Husserl’s ontology and argue that this distortion stems from a misconstrual of the relations between essences and facts, and between ideal and real possibilities. These ‘local’ misconstruals reflect, I contend, a ‘global’ misunderstanding that mistakes descriptive distinctions (...) for ‘real’ separations, and that remains indebted to a non-Husserlian understanding of the a priori–a posteriori-distinction. In support of this argument, I first lay out the relevant objection to Husserl’s eidetics as I understand it. Then, I clarify the relation between ideal and real possibilities in the context of Husserl’s eidetics as I see it. Finally, I make a general point about the status of Husserl’s ontological differentiations ‘in the midst of life,’ namely in how what they differentiate is effective and (tacitly) manifest ever only as one moment (amongst many) of the complex whole that is a concrete life of consciousness. I end with some remarks on what this might mean for future phenomenological research on the imagination. (shrink)

The concept of imagination is notoriously ambiguous. Thus one must be cautious not to use ‘imagination’ as a placeholder for diverse phenomena and processes that perhaps have not much more in common than that they are difficult to assign to some other, better defined domain, such as perception, conceptual thought, or artistic production. However, this challenge also comes with great opportunities: the fecundity and openness of ‘imagination’ appeal to researchers from different disciplines with different approaches and questions, and it draws (...) together fields of enquiry that are initially considered far apart. Hence, arguably, the field of imagination is particularly poised for interdisciplinary enquiry. In the section on Imagination in Interdisciplinary Research, I will talk about some of the issues that have already entered that field of interdisciplinary inquiry. (shrink)

Special Issue, n. I, ch. 1, On the Transcendental.

In this paper, I draw from Kantian and Husserlian reflections on the self-awareness of thinking for a contribution to the cognitive phenomenology debate. In particular, I draw from Kant’s conceptions of inner sense and apperception, and from Husserl’s notions of lived experience and self-awareness for an inquiry into the nature of our awareness of our own cognitive activity. With particular consideration of activities of attention, I develop what I take to be Kant’s and Husserl’s “agentive” and “proprietary” accounts. These, I (...) believe, augment contemporary discussions in interesting ways and further bolster the case for cognitive phenomenology. Moreover, the historical comparison highlights a number of assumptions made today that were not yet part of the framework at the time of Kant or at the time of Husserl. This helps reflect on the legitimacy of these assumptions. (shrink)

_Rediscovering Aesthetics_ brings together prominent international voices from art history, philosophy, and artistic practice to discuss the current role of aesthetics within and across their disciplines. Following a period in which theories and histories of art, art criticism, and artistic practice seemed to focus exclusively on political, social, or empirical interpretations of art, aesthetics is being rediscovered both as a vital arena for discussion and a valid interpretive approach outside its traditional philosophical domain. This volume is distinctive, because it provides (...) a selection of significant but divergent positions. The diversity of the views presented here demonstrates that a critical rethinking of aesthetics can be undertaken in a variety of ways. The contributions open a transdisciplinary debate from which a new field of aesthetics may begin to emerge. Contributors include: Claire Bishop, Diarmuid Costello, Paul Crowther, Arthur Danto, Nicholas Davey, Thierry de Duve, James Elkins, Francis Halsall, Michael Ann Holly, Julia Jansen, Michael Kelly, Robert Morris, Tony O'Connor, Peter Osborne, Adrian Piper, David Raskin, Carolee Schneemann, Richard Shiff, Wolfgang Welsch, and Richard Woodfield. (shrink)

The beginning of the 21st century has seen the renewed use of aesthetics as a critical and interpretive method within various discursive spheres. Particularly, and unsurprisingly, this move has been most pronounced in the discursive systems of philosophy and the artworld. It is to this more specific re-discovery that the authors in this journal address their arguments.

How much violence can a society expect its members to accept? A comparison between the language theories of Julia Kristeva and Jacques Lacan is the starting point for answering this question. A look at the early stages of language acquisition exposes the sacrificial logic of patriarchal society. Are those forces that restrict the individual to be conceived in a martial imagery of castration or is it possible that an existing society critically questions those points of socialization that leave their members (...) in a state of homelessness? The following considerations should help to distinguish between unavoidable and avoidable forms of violence. (shrink)

One of the important aspects of recent aesthetics is its focus on cross-disciplinary approaches. This implies that, although claims to generality and objectivity continue to be made, no single practice, science, or approach is able to provide absolute evidential support for arguments and claims. Aesthetics as a critical enterprise, therefore, is open to a plurality of explanations. As a result, art becomes more than another object of scientific or philosophical inquiry. It becomes a model for philosophical practice that can complement (...) or compete with dominant scientific paradigms. However, such aesthetic practice must respond to at least two grounds for skepticism: that a turn to aesthetics involves withdrawal from either critical and rigorous thinking or from social action and life. By discussing three core themes relevant for recent debates across the fields of philosophy, art history/theory and art pratice we would like to show how these concerns, while serious, can be taken up by aesthetics. These themes are: 1. the issue of validity (motivated by inquiries into the peculiar validity of aesthetic judgments); 2. the issue of subjectivity (motivated by the stipulated ‘special link’ between aesthetics and the human subject); and the political dimension of aesthetics (highlighted by the political implications of pluralist approaches to aesthetics, such as the need for negotiation and appeal). (shrink)

In this paper I want to discuss the implications of adopting different general philosophical approaches for assessing the relation between perception and imagination. In particular, I am interested in different views resulting from ‘top down’ and ‘bottom up’ approaches to cognition. By ‘top down’ approaches I meanapproaches that conceive of cognition as a process or activity that is guided by intellectual or conceptual (‘top’) elements. (I consider broadly speaking Kantian accounts typical.) By ‘bottom up’ approaches I mean approaches that conceive (...) of cognition as a process that emerges from perceptual or embodied (‘bottom’)elements of cognition. (I consider phenomenological and situated cognition accounts typical.) My considerations are framed by a particular interest in the ensuing consequences of assuming different general frameworks for integrating the issue of imagination within a theory of situated cognition. (shrink)

In this letter from Ireland I give a brief introduction into the history of academic philosophy in Ireland and a schematic overview of the current philosophical landscape. I point out some advantages and some disadvantages of practicing philosophy in Ireland against Germany and put those into a general historical and cultural context. Finally, I provide key information for anybody interested in finding out more about philosophy in Ireland.

In this letter from Ireland I give a brief introduction into the history of academic philosophy in Ireland and a schematic overview of the current philosophical landscape. I point out some advantages and some disadvantages of practicing philosophy in Ireland against Germany and put those into a general historical and cultural context. Finally, I provide key information for anybody interested in finding out more about philosophy in Ireland.