Can phenomenology contribute to the burgeoning science of consciousness? Dennett’s reply would probably be that it very much depends upon the type of phenomenology in question. In my paper I discuss the relation between Dennett’s heterophenomenology and the type of classical philosophical phenomenology that one can find in Husserl, Scheler and Merleau-Ponty. I will in particular be looking at Dennett’s criticism of classical phenomenology. How vulnerable is it to Dennett’s criticism, and how much of a challenge does his own alternative (...) constitute? I will argue that there are some rather marked differences between these two approaches to consciousness, but as I also hope to make clear, Dennett’s own account of where the differences are located is off target and ultimately based on a somewhat flawed conception of what classical phenomenology amounts to. (shrink)

ABSTRACTHow does music have the power to speak to us as if it were a living being, endowed with subjectivity? Do we empathize with music? Ordinarily we consider our perception...

Progressively Husserl started referring to the whole sphere of the life of intentional acts in terms of praxis. Perception, imagination, judgement, scientific consciousness, etc., are all seen as practices. What is the meaning of this move? A seemingly self-evident possibility is that intentionality is praxial, because even perception is not completely free from empty intending moments that demand fulfilment; and all fulfilment is attained by means of bodily activities that enable our senses to acquire the relevant contents. I reject this (...) approach as insufficient and misguided. I argue that perception and intentionality in general is praxial because consciousness, in all of its constituting syntheses, is or becomes organized as a practice-structure. Intentional consciousness organizes its contents according to rules so as to accomplish the evident or true givenness of its intended correlates. (shrink)

Can a phenomenologically-founded sociology contribute to the understanding of social change? By reference to the structure of the lifeworld as it has been analyzed by Husserl and Schutz, I argue that human action is formed by temporal, spatial, and social dimensions. These are objectified by a social semantics through which they gain their intersubjective cultural shape. From this perspective, I investigate changes in the temporal, spatial, and social dimensions of this semantics, as they occur in the present transformation of post-socialist (...) societies. Finally, I consider whether these changes mark a return to Western patterns and whether they confirm the thesis of the end of history. (shrink)

The hyletic component of kinaesthetic sensation has generally been treated with suspicion. It is usually set aside in favour of Husserl’s later analysis of kinaesthetic experience which emphasizes its practical dimension. I try to show that a nuanced understanding of the hyletic component allows us to consider its deeper temporal function. From a rather neglected passage in his Ding und Raum I show that Husserl was aware of the temporal peculiarity of kinaesthetic sensation: it is characterized by a unique kind (...) of “sameness”. I then try to explain how the hyletic dimension of kinaesthetic sensation is responsible for this peculiarity. By escaping the contingencies of protentional fulfilment kinaesthetic hyle merely unifies in an actual “belonging-together” our sensing of position and the motivation of the correlative appearances. It is on this basis that it fundamentally shapes at a passive-hyletic level the complex temporal dynamic of the practical dimension of kinaesthetic experience. (shrink)

ABSTRACTMerleau-Ponty’s Phenomenology of Perception begins with a critique of the philosophical notion of sensation. Even though it is often generally said to be aimed at traditional psychology or empiricism, Merleau-Ponty’s critique is without question also applicable to Husserl’s notion of sensation. The first half of this paper will offer an interpretation of Husserl’s conception of sensation as the stuff of perception and the pregivennesses for all of the Ego’s operations. And then it will attempt to show how Merleau-Ponty’s critique in (...) the Phenomenology of Perception can precisely be viewed as aiming at Husserl. In the end, we should be able to see that Merleau-Ponty’s critique is still relevant today, especially in regard to some recent attempts to put Husserl into the camp of non-representationalism in contemporary philosophy of mind. (shrink)

ABSTRACT This article demonstrates why Husserl struggled to understand the conditions of possibility of false memory, and how only the genetic dimension of his phenomenology enabled him to conceive of a specifically mnemic form of falsehood. For a false memory to deceive us, we must trust that it is true, but in order to have a phenomenology of its falsehood, the memory must appear as false. Husserl’s theory of false memory responds to both of these demands by showing how distorting (...) syntheses conceal themselves, without making it impossible to discover their distorting effects. Key to meeting these two demands is Husserl’s account of how the unconscious functions as the “untrue” basis of memory, and how all recollections require affective, associative syntheses between present conscious experience and past unconscious experience, syntheses that are subject to many vicissitudes. (shrink)

In this paper I investigate an underappreciated element of Husserl’s phenomenology of images: the consciousness of the depicted subject, which Husserl calls the Sujetintention, e.g. the awareness of the sitter of a portrait. Husserl claims that when a consciousness regards a figurative image, it is absorbed in the awareness of the depicted subject and yet this subject some how withholds its presence in the midst of its appearance in the image-object. Image-consciousness is an intuitive consciousness that intends a being that (...) is both ‘in’ and ‘beyond’ the image: the depicted subject haunts the image. Borrowing Richard Wollheim’s language, the aim of this study is to determine what it means for a consciousness to see a depicted-subject in an image-depiction, which happens on the basis of seeing an image-object in a material image-thing, like paint, canvas, ink, paper etc. Restricting myself to figurative images, I will argue against the view that the relation to the depicted subject is symbolic or signitive. I argue that the consciousness of the Sujet is quasi-perceptual, which allows for a better account of the depicted subject’s sense of absence. I develop this view on the basis of Husserl’s claims that the depicted subject is the bearer of norms inherent to intuitive appearances, which concern how the profiles and movements of an object ought to unfold, though they fail to do so for image-consciousness. This failure is not a mere privation for the image as a perceptual appearance but is inherent to its status as a mediated and artificial presence. (shrink)