Insufficient attention has been paid to the ways in which Newtonian conceptualizations of time encourage the view in contemporary psychology that only efficient causal explanations are viable, explanations that ultimately render meaningful, purposive, morally rich human actions and relationships illusory. In short, psychology’s pervasive adoption of Newtonian assumptions about time and causation renders the discipline incapable of understanding human behavior, its primary focus of study, in any but fundamentally inhuman ways. This paper aims (1) to provide a critique of the (...) Newtonian conception of time and its commitment to efficient causality, particularly as commonly present in contemporary psychological theory and practice, and (2) to examine the phenomenological account of time provided in the work of Emmanuel Levinas. Specifically, we will explore some of the ways in which Levinas’ account of time as fundamentally intersubjective provides an alternative conceptual grounding for understanding the therapeutic relationship as one of infinite ethical responsibility. (shrink)

In this article, we demonstrate empirically that imagination is fundamental in experiences of visual art. We do so through phenomenological interviews and analysis in dialogue with works of the phenomenologists Mikel Dufrenne, Edmund Husserl and Maurice Merleau-Ponty. We challenge Dufrenne’s delimiting of imagination to a pre-reflective power of synthesis, and argue in favor of a more comprehensive psychological understanding of imagination, which encompasses psychological differences in actual lived experience. Our analysis shows how imagination is necessarily part of experiences with visual (...) art, as it provides ways of exploring and unfolding the expressions of the work of art. Such experiences are therefore characterized by a close relation between imagination and perception, as well as an affective lining which belongs to our imaginings. (shrink)

This article examines the experience of trauma, paying particular attention to how traumatization affects one’s sense of body, time, and intersubjectivity. Furthermore, this study provides one example of how literature can be used in phenomenological research. Using both classical and contemporary phenomenological sources and deepening the analysis by discussing a first-person description by Marguerite Duras, the article aims to clarify one crucial aspect of traumatic experience: trauma alters experiential features so that the relation between traumatic past and present becomes rigid.

This article describes what it is like to experience beauty in visual art. Our phenomenological analysis of interviews with visual art museum visitors shows that beauty appears as the relationship between two different experiential modes. Initially, the perceiver feels herself affectively and bodily immersed in the perceived while awareness of herself pulls back. Self-awareness eventually returns, allowing for a subtle yet distinct mode of reflection in which the viewer looks back at the initial moment of felt connection with the perceived. (...) Our analysis suggests that beauty experience arises when a slight perceptual distance allows for a subtle mode of reflection on the involvement with the artwork that took place in the immediate past. The initial moment returns as an affectively charged memory, which the perceiver longs to restore or repeat. The article relates beauty’s apparent two-fold nature to the question of how the fundamental capacity for aesthetic experience psychologically develops. It concludes that beauty experience originates from the combined capacity of self-forgetful immersion and self-contemplative distance. (shrink)