This is the first English translation of Husserliana XXIII, the volume in the critical edition of Edmund Husserl's works that gathers together a rich array of posthumous texts on representational consciousness. The lectures and sketches comprising this work make available the most profound and comprehensive Husserlian account of image consciousness. They explore phantasy in depth, and furnish nuanced accounts of perception and memory.

Midwest Studies In Philosophy, Volume 44, Issue 1, Page 48-69, December 2019.

The article explores two phenomenologies of image consciousness that were formulated by Ingarden and Blaustein, both of whom were students of Husserl. Both philosophers analyze image consciousness in the context of the phenomenon of contemplating a painting. The article is divided into seven sections. Section 1 presents the historical background of Blaustein’s and Ingarden’s explorations. In Section 2, Ingarden’s description of a painting as different from an image is reconstructed. In Section 3, Ingarden’s analysis of (...) Husserl’s image consciousness is discussed. Section 4 concerns Blaustein’s theory of intentionality, which was formulated in a critical elaboration of Husserl’s philosophy. Section 5 discusses the detailed components of Blaustein’s theory of intentionality, i.e., his theory of psychic representations. This theory is then used in Section 6 in an analysis of Blaustein’s reading of § 111 of Husserl’s Ideas I. Section 7 summarizes both theories in order to draw parallels and differences between Ingarden and Blaustein. In this regard, it is argued that both philosophers refer to different theoretical contexts when discussing Husserl’s idea of image consciousness. (shrink)

This paper argues that digital games are best understood as a type of image-consciousness (Bildbewusstein). First, I argue how our experiences of digital games are not perceptions. Second, I provide a summary of the phenomenological natures of three basic modes of consciousness in Hus-serl, Fink and Sartre—perception, phantasy and image-consciousness—in order to demonstrate that the latter ultimately finds its place between the other two. Lastly, I spell out the implications and contributions these insights can have (...) for our understanding of digital games, including their quite unique character and force. Indeed, once one understands digital games as a quintessential instantia-tion of this intermediate kind of consciousness, one can also better understand the immense pull digital games can have on us, not least their ‘superreality’. (shrink)

The central theme of my dissertation is Husserl’s phenomenological analysis of how we experience images. The aim of my dissertation is twofold: 1) to offer a contribution to the understanding of Husserl’s theory of image consciousness, aesthetic consciousness and art, and 2) to find out whether Husserl’s theory of the experience of images is applicable to modern and contemporary art, particularly to strongly site-specific art, unaided ready-mades, and contemporary films and theatre plays in which actors play themselves. (...) Husserl’s commentators and followers interested in his theory of the experience of images have mostly focused on the concept of “phantasy” [Phantasie] or “imagination.” Accordingly, the main interest is in the notion of the “image object” [Bildobjekt] and in the question of how something absent can appear in an image. In my dissertation, the central concept is “image consciousness” [Bildbewusstsein] which is a unique kind of experience: it involves both perception and imaging. I want to show that Husserl’s early theory of depictive image consciousness and his later theory of the experience of images can both be subsumed under the term “image consciousness”. I want to point out that Husserl’s revision of his earlier theory of image consciousness results in the distinction between depictive and non-depictive image consciousness, and that revision did not amount to an abandoning of the theory of “image consciousness.” In addition, Husserl divides depictive consciousness into positing and non-positing depictive consciousness. In my dissertation, I take the theory of image consciousness as the basis for explaining the experience of images, including the experience of visual works of art. In Husserl’s definition of art: “Without an image, there is no fine art”. The theory of image consciousness also plays an important role in explaining aesthetic consciousness since the focus is on “the How of the image object’s depicting”. My aim is to accentuate the subject in image consciousness, rather than the image object. I want to show that whether the subject is involved in image consciousness or not makes the difference if we have a two-fold or three-fold experience of seeing-in. In this way, I can also compare Husserl and Wollheim’s theories of seeing-in: a comparison that has received minimal attention in the literature of pictorial experience until now. In addition, I aim to show that according to Husserl’s theory, the image subject is involved only in depictive image consciousness. Moreover, I try to show that it is more difficult to define the image subject than the image object for the subject cannot be equated with the referent. Lastly, I will point out that Husserl mentions the possibility that it is the appearance of the subject rather than the image object appearance that we are focused on in aesthetic consciousness. Another topic that has received minimal attention until now is Husserl’s idea that depiction is involved in the experience of theatrical performance. The latter is primarily used by Husserl as an example of non-depictive image consciousness. I will examine how depiction can be involved in the experience of a theatre play in the case of actors playing themselves onstage. I will show that, in light of this example, either Husserl’s theory of depiction need to be revised or we cannot say that depiction is involved when an actor plays a real life person. Again, the key issue is how the subject appears. Thus, I will try to apply Husserl’s theory of depiction in explaining our experience of theatrical performances. I will also try to use his theory of aesthetic consciousness in describing the experience of strongly site-specific art and point out what the difficulties are of using the idea of the limited synthetic unity of the aesthetic object in the case of strongly site-specific art which seems to have no prescribed margins that could correspond to the limitedness. In addition, I will show how Husserl’s phenomenology, especially the notion of horizon, can be used to define visual art. I will defend the view that an object of art can be defined as art through an external co-determining horizon – the artworld. My dissertation is divided into four parts. In the first part, I give an overview of the development of Husserl’s philosophy from the period 1989 – 1920s with a special focus on the development of the theory of image consciousness. In that part, I introduce the notions of depictive and non-depictive image consciousness. In the second part, special focus is on the depictive image consciousness or the theory of depiction. I will first explain the phenomenological approach to the experience of images and what the difference and similarities are between Husserl and Wollheim’s theory of seeing-in. Then I give more detailed description of the three objects or objectivities in image consciousness with the emphases on the image subject. Also, how the objects are related to each other: the necessary conflicts and a resemblance in image consciousness. Lastly, I will analyse Husserl’s claim that depiction might be involved in the experience of theatrical performances and I will show what the difficulties are of applying this idea in the case of a theatre play in which actors play themselves. In the third part, I examine Husserl’s theory of aesthetic consciousness. I will first point out how the notion of “aesthetic object” is equated with that of “work of art” by Husserl. Then I will show the similarities between the aesthetic attitude and phenomenological attitude in general, and how aesthetic consciousness differs from image consciousness according to Husserl. In this vein, I will point out the difficulty of defining whether, following Husserl’s texts, we are directed to image object appearance or the appearance of the image subject in aesthetic consciousness. Lastly, I will analyse Husserl’s idea of the limited synthetic unity of the aesthetic object and whether this theory holds in the case of the experience of strongly site-specific art. In the fourth part, I will give an overview of Husserl’s notes on art and his attempt to define art. The question whether every visual work of art must be an image is also addressed. The fourth part is divided into two sections. Firstly, I will show how some of Husserl’s commentators analyse artworks as analogues to or illustrations for Husserl’s phenomenology: how some works of art are doing phenomenology. Secondly, how Husserl’s phenomenology can be used to analyse our experience of artworks. In this section, I will examine Husserl’s claim that all works of visual art are images. Also, I will show how Husserl’s notion of the external co-determining horizon can be used to define art. Some material used in my dissertation has been published in the following journals: Proceedings of the European Society for Aesthetics, South African Journal of Philosophy, 2013), Kunstiteaduslikke Uurimusi, 2014), Postgraduate Journal of Aesthetics Spring 2014). (shrink)

This article considers Edmund Husserl’s description of image consciousness from the viewpoint of the role played by attentive meaning (meinen) in the intention of the image subject. We argue that the intention of the image subject has to be interpreted in the sense of the attentive meaning as presented in the second part of Husserl’s 1904/5 lecture on Phenomenology and Theory of Knowledge. Attentive meaning performs 1) the segregation of a specific apprehension along with the attentive (...) articulation of experience, and 2), as a formative and preferential function, it introduces a difference in the objective consideration. First, we explain the connection between apprehension, attentive meaning, and object; then, we clarify the relationship between apprehension and attentive meaning in image consciousness in the 1898 manuscripts and the 1904 lecture; finally, we set forth the motivation for the intending of the image subject on the basis of the image apprehension. (shrink)

Husserl and Sartre’s analyses of mental imagery and some of the latest cognitive research on vision provide a framework for understanding a number of films by Hitchcock (Psycho and Rear Window) and Buñuel (Un Chien Andalou), films which similarly probe the subtleties and uses of mental imagery. One of the many ways to enjoy these films is to see them as explorations of visual phenomenology; they allow us to enact, as well as reflect upon, mental images as part of the (...) film experience.<br><br><br><br><br><br>. (shrink)

Monotheism of reason & heart, polytheism of imagination and art: That is what we need!Even today aesthetics is not considered among Edmund Husserl’s main interests. It is true, however, that there are many other phenomenological approaches to aesthetics among his “heretic” disciples, as Ricoeur calls them. I am thinking here especially of Sartre’s L’Imagination and L’imaginaire, Roman Ingarden’s Untersuchungen zur Ontologie der Kunst and Das literarische Kunstwerk, and Mikel Dufrenne’s Phénoménologie de l’expérience esthétique. Nevertheless, it may be objected that in (...) regard to Husserl’s work in aesthetics, research has been, at times, limited or simplified. Though... (shrink)

Discusses consciousness as an island of images, which informs us incompletely and indirectly about the mental and the physical worlds. A dualistic worldview separates the perceptual world from the transcendental physical world. Both universes of discourse are empowered by dynamic forces and are related to each other by reflection, the one reflecting the other. The physical world is understood and operated through the intermediary of perception. 2012 APA, all rights reserved).

One method for investigating the neurobiology of consciousness is to experimentally manipulate consciousness as a variable and then visualize the resultant functional brain changes with advanced imaging techniques. To begin investigation into this area, healthy volunteers underwent positron emission tomography scanning while listening to randomized word lists in both conscious and unconscious conditions. Following anaesthesia, subjects had no explicit memories. Nonetheless, subjects demonstrated implicit memory on a forced-choice test . These subsequent memory scores were correlated with regional brain (...) metabolism measured during encoding. Conscious recall and unconscious recognition memory demonstrated considerable anatomic overlap in correlating significantly with relative glucose metabolism in auditory verbal memory areas. However, only conscious recall correlated with mediodorsal thalamic nucleus activity; unconscious recognition memory did not. These findings suggest that conscious versus unconscious memory distinctions may depend on the presence or absence of correlated thalamic activity, and directly implicate the thalamus in the neurobiology of consciousness. (shrink)

By drawing on Husserl’s manuscripts on Phantasy, Image Consciousness and Memory, this paper aims to shed light on some of the primary concepts defining his notion of image—such as “belief,” “presentification” and perzeptive Phantasie—and endeavours to show how such concepts could be profitably developed for the sake of a phenomenological description of film image. More in particular, these analyses aim to give a phenomenological account of the distinction between positing film images, presupposing a claim to reality—for (...) example the ones we experience in a documentary attitude—and quasi-positing film images involved in artistic creation. The latter, despite their photographic relation to reality, are capable of giving rise to filmic “image-worlds” having intersubjective existence. (shrink)

Written in broad strokes, this paper attempts to draw form Krishnamurti’s life and teachings, a hermeneutics of the human soul’s quest-journey towards transcendent wholeness. It begins with an attempt to frame K’s “process” (the name given to the painful ordeals in his youth that many believe were the catalyst responsible for his metamorphosis) through a variety of disciplines and cultural perspectives, some of which underscore the impasse of scientific objectivity and the limits of phenomenalist categories in general. It then explores (...) the procedures and conceits of present technologies of self-transformation via pseudomeditative body work and suggests that this subject can only be confirmed by an experience so intimately and subversively (to its own object) subjective that it risks undermining its own legitimacy in the face of our body-phobic Cartesian cultural ethos that holds sacrosanct the mind-body split. -/- It then explores the deeper origins and history of this problem from the pre-Socratics to the misconceptions of modern mathematics about the proper place of metaphor and paradox and underscores how present day false consciousness fails to discriminate between a “noumenal” world and its conditioned “phenomenal” counterfeit copy. It ends with a brief meditation on K’s process. (shrink)

This paper offers a phenomenology of the structure and scope of imagination's cognitive significance. It does so through discussing the unifying role of imagination in self-consciousness, and then the way in which this role is continued through the making of pictures in physical media such as drawing and painting. The study begins with discussion of four key features in terms of which imagination is often characterized. Particular emphasis is assigned to the quasi-sensory aspect. Part one then explains imagination as (...) a capacity subject to the will, whose exercise enables a 'blending'between the object imagined and the subjective style in which it is imagined. Through imagining, the imaginer comes to inhabit the object. Parts two and three explore this inhabiting in relation to memory and the imagining of possibility per se. Part four explains how picturing takes imaginative inhabiting to a level of completion. (shrink)

We think of consciousness as a thing. Observation of our experience indicates that we are actually consciousing, and that experiencing is closely related to movement and the muscular sense. The position of this paper is that mind and body are not two entities related to each other but an inseparable whole while functioning. From concrete examples from the Feldenkrais Method, it is shown that changes in the organization of movement and functioning are intimately related and that one cannot change (...) without conscious experience. Implications for the resolution of controversies in the field of consciousness studies and the neurosciences are suggested. (shrink)

in N. Eilan, A. Marcel and J. Bermudez, The Body and the Self, 29-42.

If we assume that consciousness is a natural biological phenomenon in the brain, should we expect the current brain sensing and imaging methods to somehow ‘discover’ consciousness? The answer depends on the following points: What kind of level of biological organization do we assume consciousness to be? What would count as the discovery of this level? What are the levels of organization from which the currently available research instruments pick signals and acquire data? Single-cell recordings, PET, fMRI, (...) EEG and MEG pick different types of signals from different levels of organization in the brain. However, it seems they do not manage to pick signals that would allow the direct visualization and reconstruction of the higher levels of electrophysiological organization that are crucial for the empirical discovery and theoretical explanation of consciousness. The message of the present paper is twofold: On the one hand, we should be aware of the practical limitations of the currently available methods of cognitive neuroscience and not read too much into the images produced by them. On the other hand, the present limitations could be overcome by more sophisticated methods in the future. Therefore, contrary to what several philosophers have argued, the empirical discovery of consciousness in the brain is not impossible in principle. (shrink)

FUNCTIONAL MAGNETIC RESONANCE IMAGING DETECTS DEGREES of consciousness in a few vegetative patients, despite the difficulty of establishing any form of communication with them at the bedside. What are the implications of our understanding of consciousness in defining one's identity? How do we care for these patients? To answer these questions, I propose relationality as an appropriate ethical resource. Relationality supports a renewed understanding of consciousness, identity, and care; it addresses the associated ethical issues; and it characterizes (...) who we are, how we understand ourselves theologically, and how, through discernment, we promote justice and love. (shrink)

In a recent response paper to Brogaard (2011a), Morten Overgaard and Thor Grünbaum argue that my case for the claim that blindsight subjects are not visually conscious of the stimuli they correctly identify rests on a mistaken necessary criterion for determining whether a conscious experience is visual or non-visual. Here I elaborate on the earlier argu- ment while conceding that the question of whether blindsight subjects are visually con- scious of the visual stimuli they correctly identify largely is an empirical (...) question. I conclude by sketching a method for testing whether blindsight subjects have visual con- sciousness of stimuli presented to them in their blind field. (shrink)

An historical review of the concepts of self-consciousness is presented, highlighting the important role of the body (particularly, body perception but also body action) and the social other in the construction of self-consciousness. More precisely, body perception, especially intermodal sensory perception including kinesthetic perception, is involved in the construction of a sense of self allowing self-nonself differentiation. Furthermore, the social other, through very early social and emotional interactions, provides meaning to the infant’s perception and contributes to the development (...) of his/her symbolization capacities. This is a necessary condition for body image representation and awareness of a permanent self in a time-space continuum (invariant over time and space). Self-image recognition impairments in the mirror are also discussed regarding a comprehensive developmental theory of self-consciousness. Then, a neuropsychological and neurophysiological approach to self-consciousness reviews the role of complex brain activation/integration pathways and the mirror neuron system in self-consciousness. Finally, this article offers new perspectives on self-consciousness evaluation using the mirror as an experimental paradigm to study self- and other- image and body recognition. (shrink)

Revonsuo argues that current brain imaging methods do not allow us to ‘discover’ consciousness. While all observational methods in science have limitations, consciousness is such a massive and pervasive phenomenon that we cannot fail to observe its effects at every level of brain organization: molecular, cellular, electrical, anatomical, metabolic, and even the ‘higher levels of electrophysiological organization that are crucial for the empirical discovery and theoretical explanation of consciousness’ . Indeed, the first major discovery in that respect (...) was Hans Berger's finding that scalp EEG is massively different between waking and deep sleep, already seven decades ago. We now have perhaps a dozen sophisticated methods for monitoring consciousness-related activity at multiple levels of brain observation. Theoretical progress has come quite rapidly. Recently, E.R. John and colleagues have made fundamental findings using Quantitative EEG, showing consistent brainwide changes as a result of several types of general anaesthetics . John has proposed a neuronal ‘field theory’ to account for those results. Another promising new method involves frequency-tagging of competing stimuli, allowing us to follow the activity of billions of neurons synchronized to particular conscious stimuli, always compared to very similar unconscious input . A fundamental theoretical account of such results has been provided by Tononi & Edelman . Such results and theory are in broad agreement with the cognitive theory proposed by Baars. (shrink)

Sartre attacks the "illusion" that mental images are "immanent" in consciousness. After comparing sartre with husserl, I develop his view that mental images are non-Perceptual phenomena involving a relationship with something non-Present. From the impoverished, Unworldly view that results, I suggest that sartre's own view is still too attached to the perceptual analogy and conclude with the richer, Alternative view of ricoeur that imaginal fiction has a constructive role in shaping reality.

Revonsuo makes a provocative and interesting claim: that currently available neurophysiological recording techniques will be unable to discover the neural basis of consciousness in the brain. Although the title refers exclusively to functional brain imaging, Revonsuo considers MEG, EEG, ERP and measurements of firing rate in single cell electrophysiology all in principle incapable of discovering consciousness in the brain. This conclusion is reached by assuming that only one particular type of physical entity constitutes awareness.

This chapter concentrates on the nature of the image as it presents itself in experience, with its remarkable capacity to represent within itself people, events, emotions, and many other things, and with its place in art. The Husserlian perspective has many affinities with more recent investigations of images. The physical dimension of image plays an important role in imaging and has been largely neglected by philosophers, though not by artists. The uniqueness of image consciousness rests in (...) its ability to see something in something else. Then, the chapter assesses the differences between image consciousness and symbolic or signitive consciousness. The resemblance in image consciousness must precisely not be perfect; it must be paired with and permeated by difference and even conflict. Images improve experience by folding into themselves the world. (shrink)

The approach of Revonsuo is criticised as being based on a misplaced emphasis on coupled oscillatory dynamics, as well as on too limited an approach to recent advances in brain imaging. This results in the nature of attention as a basic component in consciousness being ignored, and prevents any attempt to attack the crucial problem for consciousness of inner experience: of ‘what it is like to be’.

Binding can be described at three different levels: In neuroscience it refers to the integration of single-cell activities to form functional neural assemblies, especially in response to global stimulus properties; in cognitive science it refers to the integration of distributed modular input processing to form unified representations for memory and action, and in consciousness studies it refers to the unity of phenomenal consciousness . To describe and explain the unity of consciousness, detailed phenomenological descriptions of binding at (...) the phenomenal level and clarification of the underlying cognitive and neural mechanisms are required. The disunity of consciousness during dreaming is a fruitful avenue to study phenomenal binding and its mechanisms. The notion of the 'bizarreness' of dreams is closely related to the concept of 'binding': bizarreness can be reconceptualized as referring to different types of unusual combinations of features in the binding of dream images coherently together. The present study concentrates on the representation of human characters and the bizarreness found in these representations. We developed a rating scale that distinguishes different types of bizarreness on the basis of the unusual combinations of elements that are manifested in dream images. The data consisted of 592 dream reports in the home-based dream diaries of 52 students. The results indicate that about half of the human characters appearing in our dreams contain bizarre elements, and that certain types of bizarreness are more frequent than others. Phenomenal features intrinsic to the representation of a person are less frequently bizarre than is the external relation between the person and the context . Thus, binding the local features of a representation coherently together appears to be less prone to errors than binding several different information streams together into a coherent phenomenal model of the world. (shrink)

Using the form of cinematic montage, this essay explores the nature of historical consciousness in a mass-mediated culture where historical discourse takes the form of both showing and saying, moving images and written words. The title draws upon and argues with Roland Barthes's critique of the duplicity of the "insistent fringes" that supposedly reduce and naturalize "Roman-ness" to fringed hair in popular historical film. Barthes presumes a "certainty" in such a cinematic image, and hence deems it mythological-that is, (...) "it goes without saying." Countering Barthes with Walter Benjamin, one might argue that the "insistent fringe" is insistently historical and constitutes, in its insistence, a "dialectical image": a site and sight full of contradictions and open to excavation. That is, it concretizes historiographic saying by showing. Neither historiographic saying nor showing are privileged in medias res-in a culture saturated in images and textuality, in competing modes of expression each of which has its limits. Historical consciousness is sparked and constituted from both showing and saying. Indeed, the "insistent fringe" is precisely not clear-cut-and, if it insists on anything, it is its serrated nature, its articulation as a limit that differs from, but is constituted by, the elements of the two distinct domains which it both separates and connects. Similarly, there is a dynamic, functional, and hardly clear-cut relation that exists between the mythological histories wrought by Hollywood cinema and the academic histories written by scholars. They co-exist, compete, and cooperate in a contingent, heteroglossic, and always shifting ratio-thus constituting the "rationality" of contemporary historical consciousness. (shrink)

https://www.amazon.com/Philosophical-Universes-Consciousness-Experience-Understanding/dp/1874440050/ref=asap_bc?ie=UTF8.