David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
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Continental Philosophy Review 40 (2):171-185 (2007)
In this paper, I will present an argument against Husserl’s analysis of picture consciousness. Husserl’s analysis of picture consciousness (as it can be found primarily in the recently translated volume Husserliana 23) moves from a theory of depiction in general to a theory of perceptual imagination. Though, I think that Husserl’s thesis that picture consciousness is different from depictive and linguistic consciousness is legitimate, and that Husserl’s phenomenology avoids the errors of linguistic theories, such as Goodman’s, I submit that his overall theory is unacceptable, especially when it is applied to works of art. Regarding art, the main problem of Husserl’s theory is the assumption that pictures are constituted primarily as a conflict between perception/physical picture thing and imagination/picture object. Against this mentalist claim, I maintain, from a hermeneutic point of view, that pictures are the result of perceptual formations [Bildungen]. I then claim that Husserl’s theory fails, since it does not take into account what I call “plastic perception” [Bildliches Sehen], which plays a prominent role not only within the German tradition of art education but also within German art itself. In this connection, “plastic thinking” [Bildliches Denken] was prominent especially in Klee, in Kandinsky, and in Beuys, as well as in the overall doctrine of the Bauhaus. Ultimately, I argue that Husserl’s notion of picture consciousness and general perceptive imaginary consciousness must be replaced with a more dynamic model of the perception of pictures and art work that takes into account (a) the constructive and plastic moment, (b) the social dimension and (c) the genetic dimension of what it means to see something in something (Wollheim).
|Keywords||Edmund Husserl Roland Barthes Hans-Georg Gadamer Richard Wollheim Paul Klee Phenomenology Semiotics Culturalism Seeing-in Image Picture Depiction Picture Consciousness Perception Plastic Perception Mentalism Gestalt Gebilde Formation Shaping Power Vision Visibility Feuerquelle Spring of Fire|
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References found in this work BETA
Hans-Georg Gadamer (2004). Truth and Method. Continuum.
Nelson Goodman (1968). Languages of Art. Bobbs-Merrill.
Richard Wollheim (1989). Painting as an Art. Journal of Aesthetics and Art Criticism 47 (3):281-284.
Robert Hopkins (2006). The Speaking Image: Visual Communication and the Nature of Depiction. In Matthew Kieran (ed.), Contemporary Debates in Aesthetics and the Philosophy of Art. Blackwell Pub. 135--159.
Arthur C. Danto (2001). Seeing and Showing. Journal of Aesthetics and Art Criticism 59 (1):1-9.
Citations of this work BETA
Andreea Smaranda Aldea (2013). Husserl's Struggle with Mental Images: Imaging and Imagining Reconsidered. [REVIEW] Continental Philosophy Review 46 (3):371-394.
Christian Ferencz-Flatz (2009). Gibt es perzeptive Phantasie? Als-ob-Bewusstsein, Widerstreit und Neutralität in Husserls Aufzeichnungen zur Bildbetrachtung. Husserl Studies 25 (3):235-253.
Javier Enrique Carreño Cobos (2013). The Many Senses of Imagination and the Manifestation of Fiction: A View From Husserl's Phenomenology of Phantasy. [REVIEW] Husserl Studies 29 (2):143-162.
Javier Enrique Carreno Cobos (2013). The Many Senses of Imagination and the Manifestation of Fiction: A View From Husserl's Phenomenology of Phantasy. Husserl Studies 29 (2):143-162.
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