Micro-phenomenology is an interview and analysis method for investigating subjective experience. As a research tool, it provides detailed descriptions of brief moments of any type of subjective experience and offers techniques for systematically comparing them. In this article, we use an auto-ethnographic approach to present and explore the method. The reader is invited to observe a dialogue between two authors that illustrates and comments on the planning, conducting and analysis of a pilot series of five micro-phenomenological interviews. All these interviews (...) asked experienced researchers of micro-phenomenology to browse their memories to identify one successful and one challenging instance of working with micro-phenomenology. The interview then focused on this reflective task to investigate whether applying the method to itself might reveal quality criteria. The article starts by presenting a shortened and edited version of the first of these interviews. Keeping the dialogue format, we then outline the micro-phenomenological analysis procedure by demonstrating its application to part of this data and corresponding passages of other interviews. We focus on one unexpected finding: interviewed researchers judge the quality of an interview in part based on a connection or contact between interviewer and interviewee. We discuss these results in the context of the means and intentions of the method and suggest avenues for future research. (shrink)

The subjective experience of time in depression has been described to be altered in complex ways, with sensations of particular slowness, delay or stillness being the most often named articulations. However, the attempts to provide empirical evidence to the phenomenon of “time slowing down in depression” have resulted in inconsistent findings. In consequence, the overall claim that depressive time somehow differs from ordinary time has often been discarded as unfounded. The article argues against such conclusion, contending that the described ambiguity (...) might be caused by the methods employed to assess the phenomenon under observation. In the first part of the article, a reconceptualization of the experience of time in depression is proposed on the grounds of classic and contemporary phenomenological psychiatry. This leads to identify the essential features of depressive time as described both in clinical and philosophical contexts. In the second part, a critique of the existing methods of time perception assessment is conducted, with a specific focus on duration estimation and time passage perception tasks. The above-mentioned core features serve as guidelines in discussing to what degree such methods fit the phenomenon at stake. Finally, an alternative and innovative method is put forward, that might not only help to explore the scope of existing methods but might itself present an alternative to such: the micro-phenomenological interview. (shrink)

In spite of their striking differences with real-life perception, films are perceived and understood without effort. Cognitive film theory attributes this to the system of continuity editing, a system of editing guidelines outlining the effect of different cuts and edits on spectators. A major principle in this framework is the 180° rule, a rule recommendation that, to avoid spectators’ attention to the editing, two edited shots of the same event or action should not be filmed from angles differing in a (...) way that expectations of spatial continuity are strongly violated. In the present study, we used high-density EEG to explore the neural underpinnings of this rule. In particular, our analysis shows that cuts and edits in general elicit early ERP component indicating the registration of syntactic violations as known from language, music, and action processing. However, continuity edits and cuts-across the line differ from each other regarding later components likely to be indicating the differences in spatial remapping as well as in the degree of conscious awareness of one's own perception. Interestingly, a time–frequency analysis of the occipital alpha rhythm did not support the hypothesis that such differences in processing routes are mainly linked to visual attention. On the contrary, our study found specific modulations of the central mu rhythm ERD as an indicator of sensorimotor activity, suggesting that sensorimotor networks might play an important role. We think that these findings shed new light on current discussions about the role of attention and embodied perception in film perception and should be considered when explaining spectators’ different experience of different kinds of cuts. (shrink)

While appreciating Oblak’s call for and investment in more ecological research designs in psychology, I point out several aspects in Oblak’s own experimental setup that might themselves derive ….