Pub Date : 2023-01-01DOI: 10.5840/studphaen20232314
Fabrizia Bandi
The purpose of the article is to offer a phenomenological description of VR images and their experience. In the first section, I briefly present the peculiar features of these kinds of images; in the second section, I compare VR images with phantasms, especially in the light of the idea of “presentification” (Vergegenwärtigung), and then I discuss the reality or unreality of VR image-objects; the third section elaborates an analysis of VR images according to the notions of image object (Bildobjekt), and discusses the issue of “presence” both of the representing image and the user; finally, in the last section, I focus on the correlated experience of the subject, which I describe as a switching between image consciousness and perceptual apprehension.
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Pub Date : 2023-01-01DOI: 10.5840/studphaen2023238
Simone Villani, Andrea Altobrando
We provide a phenomenological explanation of the particular function mental images play in the realization of enjoyment and their significance for human freedom on the basis of the idea, drawn from Sartre, that images are not things but rather a way consciousness behaves towards objects. The mental image’s matter, which consists of affectivity, knowledge, and kinaesthetic operations, allows imagination to conjure up an unreal item to satiate a desire. However, by foreshadowing enjoyment in the imaginary, the mental image urges consciousness toward a change in the world that would make that enjoyment real. This is accomplished through the development of tools, which rely on the ability to overcome not just a given situation but also courses of goal-oriented behaviour that have already been prepared by the environment. Through this creation, consciousness exerts its freedom within reality, and marks the world as meaningful.
{"title":"Realizing the Imaginary","authors":"Simone Villani, Andrea Altobrando","doi":"10.5840/studphaen2023238","DOIUrl":"https://doi.org/10.5840/studphaen2023238","url":null,"abstract":"We provide a phenomenological explanation of the particular function mental images play in the realization of enjoyment and their significance for human freedom on the basis of the idea, drawn from Sartre, that images are not things but rather a way consciousness behaves towards objects. The mental image’s matter, which consists of affectivity, knowledge, and kinaesthetic operations, allows imagination to conjure up an unreal item to satiate a desire. However, by foreshadowing enjoyment in the imaginary, the mental image urges consciousness toward a change in the world that would make that enjoyment real. This is accomplished through the development of tools, which rely on the ability to overcome not just a given situation but also courses of goal-oriented behaviour that have already been prepared by the environment. Through this creation, consciousness exerts its freedom within reality, and marks the world as meaningful.","PeriodicalId":42801,"journal":{"name":"Studia Phaenomenologica","volume":"125 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135748660","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.1007/978-3-031-22986-2
D. Džanić
{"title":"Transcendental Phenomenology as Human Possibility","authors":"D. Džanić","doi":"10.1007/978-3-031-22986-2","DOIUrl":"https://doi.org/10.1007/978-3-031-22986-2","url":null,"abstract":"","PeriodicalId":42801,"journal":{"name":"Studia Phaenomenologica","volume":"51 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88395812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.5840/studphaen20232311
Erik Lind
Henri Maldiney’s aesthetics can be seen as an attempt to push traditional phenomenological descriptions of the image, such as can be found in the works of Husserl and Sartre, to their theoretical limits. In this paper, I examine how Maldiney’s phenomenological approach to visual works of art leads him to disclose a non-intentional dimension of the image which is that of “form.” At this level, the image is not primarily a structure or modification of consciousness, but a mode of presence to the world. Next, in turning towards what Maldiney considers to be non-objective forms of pictorial representation, exemplified by Byzantine mosaics and the works of Paul Cézanne, I show how this presence is articulated rhythmically in a tension which embraces both image and viewer. Finally, I explore the meaning of Maldiney’s claim that the image is not an imitation of reality, but synonymous with reality itself.
{"title":"L’équivoque de l’image chez Henri Maldiney","authors":"Erik Lind","doi":"10.5840/studphaen20232311","DOIUrl":"https://doi.org/10.5840/studphaen20232311","url":null,"abstract":"Henri Maldiney’s aesthetics can be seen as an attempt to push traditional phenomenological descriptions of the image, such as can be found in the works of Husserl and Sartre, to their theoretical limits. In this paper, I examine how Maldiney’s phenomenological approach to visual works of art leads him to disclose a non-intentional dimension of the image which is that of “form.” At this level, the image is not primarily a structure or modification of consciousness, but a mode of presence to the world. Next, in turning towards what Maldiney considers to be non-objective forms of pictorial representation, exemplified by Byzantine mosaics and the works of Paul Cézanne, I show how this presence is articulated rhythmically in a tension which embraces both image and viewer. Finally, I explore the meaning of Maldiney’s claim that the image is not an imitation of reality, but synonymous with reality itself.","PeriodicalId":42801,"journal":{"name":"Studia Phaenomenologica","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135750893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.5840/studphaen2023236
César Gómez Algarra
In his conference “The Age of the World Picture” (1938), Heidegger displays a strong criticism of the concept of image (Bild). More precisely, the German philosopher rejects any consideration of the image, as he correlates the image with the process of subjective representation (Vorstellung). At first glance, that position does not seem to change in his posthumous works written from 1930 to 1940, where Heidegger develops his Ereignis-thinking. However, a more thorough study of the writings (from the Beiträge zur Philosophie to Das Ereignis and the Black Notebooks) allows us to reconsider the scope of that common idea. In this paper, I analyze the project of a thinking without images (bildloses Denken) and of imagination (Phantasie) elaborated throughout the private writings. My aim is to re-examine the extent of Heidegger’s refusal of images, in order to prove that, in the end, his essay of a thinking without images cannot escape their ontological weight.
{"title":"Une pensée sans images ? Phantasie et Bild dans les traités de l’histoire de l’Être","authors":"César Gómez Algarra","doi":"10.5840/studphaen2023236","DOIUrl":"https://doi.org/10.5840/studphaen2023236","url":null,"abstract":"In his conference “The Age of the World Picture” (1938), Heidegger displays a strong criticism of the concept of image (Bild). More precisely, the German philosopher rejects any consideration of the image, as he correlates the image with the process of subjective representation (Vorstellung). At first glance, that position does not seem to change in his posthumous works written from 1930 to 1940, where Heidegger develops his Ereignis-thinking. However, a more thorough study of the writings (from the Beiträge zur Philosophie to Das Ereignis and the Black Notebooks) allows us to reconsider the scope of that common idea. In this paper, I analyze the project of a thinking without images (bildloses Denken) and of imagination (Phantasie) elaborated throughout the private writings. My aim is to re-examine the extent of Heidegger’s refusal of images, in order to prove that, in the end, his essay of a thinking without images cannot escape their ontological weight.","PeriodicalId":42801,"journal":{"name":"Studia Phaenomenologica","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135748651","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.5840/studphaen20232313
Stephanie Rumpza
The Orthodox icon is often claimed as unique among images. Yet many proponents of this view, such as Leonid Ouspensky and Pavel Florensky, defend this singularity through a polemic against Western realism using a logic that culminates in a polemic against the world of experience. In this paper, I will use phenomenology to dismantle these two false dualities, against realist images and real experience, by uncovering the deeper concerns that motivate them. First, I draw on Merleau-Ponty’s phenomenology of painting to collapse the dichotomy of carnal and spiritual images. Then, I use Jean-Luc Marion’s phenomenality of Revelation to reframe the dichotomy of worldly and spiritual experience. This broadened understanding of experience will serve as a starting point to refine our understanding of what is claimed by the icon, both in its function as an image and in the world it opens for those who approach it on its own terms.
{"title":"The Icon as Revelation","authors":"Stephanie Rumpza","doi":"10.5840/studphaen20232313","DOIUrl":"https://doi.org/10.5840/studphaen20232313","url":null,"abstract":"The Orthodox icon is often claimed as unique among images. Yet many proponents of this view, such as Leonid Ouspensky and Pavel Florensky, defend this singularity through a polemic against Western realism using a logic that culminates in a polemic against the world of experience. In this paper, I will use phenomenology to dismantle these two false dualities, against realist images and real experience, by uncovering the deeper concerns that motivate them. First, I draw on Merleau-Ponty’s phenomenology of painting to collapse the dichotomy of carnal and spiritual images. Then, I use Jean-Luc Marion’s phenomenality of Revelation to reframe the dichotomy of worldly and spiritual experience. This broadened understanding of experience will serve as a starting point to refine our understanding of what is claimed by the icon, both in its function as an image and in the world it opens for those who approach it on its own terms.","PeriodicalId":42801,"journal":{"name":"Studia Phaenomenologica","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135748645","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.5840/studphaen20232310
Alex Obrigewitsch
Rather than examining the possibilities of the relation between phenomenology and literature as they are conditioned by the imaginary image, this paper takes up the impossibility essential to this relation, bound to the question of its experience, to the experience of literature. The question of what “the experience of literature” is, what it signifies and directs itself towards, is explicated and unravelled in an analysis of the experience of the writer (and, at times, the reader), with the aid of Emmanuel Levinas’ few engagements with art and literature, paired with the thought of Maurice Blanchot on the interruption of writing (in both the subjective and objective genitives). In tracing what passes through consciousness in this experience of literature, marking its impasses and its faltering approaches, the impossibility exposed in the experience of literature shall be shown to be necessary for opening and maintaining the distance binding phenomenology and literature in their separation and their traversal of the image.
{"title":"The Image of Impossibility Binding Literature and Phenomenology","authors":"Alex Obrigewitsch","doi":"10.5840/studphaen20232310","DOIUrl":"https://doi.org/10.5840/studphaen20232310","url":null,"abstract":"Rather than examining the possibilities of the relation between phenomenology and literature as they are conditioned by the imaginary image, this paper takes up the impossibility essential to this relation, bound to the question of its experience, to the experience of literature. The question of what “the experience of literature” is, what it signifies and directs itself towards, is explicated and unravelled in an analysis of the experience of the writer (and, at times, the reader), with the aid of Emmanuel Levinas’ few engagements with art and literature, paired with the thought of Maurice Blanchot on the interruption of writing (in both the subjective and objective genitives). In tracing what passes through consciousness in this experience of literature, marking its impasses and its faltering approaches, the impossibility exposed in the experience of literature shall be shown to be necessary for opening and maintaining the distance binding phenomenology and literature in their separation and their traversal of the image.","PeriodicalId":42801,"journal":{"name":"Studia Phaenomenologica","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135748647","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.5840/studphaen20232312
Samuel Lelièvre
While inheriting from Husserl’s phenomenology, Ricoeur aims at determining a philosophical anthropology. Imagination can then be thought as what makes possible a mediation dealing with the disproportion between sensibility and understanding; it can be seen as one of the guiding threads of Ricoeur’s anthropology before becoming a theme or a field of analysis. But if this philosophy of imagination encompasses the issue of image, to the point of making these two terms mostly interchangeable, it too includes a specific philosophy of image, which must be recovered. In this perspective, one could follow a path going from the most general standpoint (the elaboration of a philosophy of image in the wake of a phenomenology of imagination) to the most particular one (the recognition of the image as a symbol, sign or trace) while determining the role of symbolic mediation related to image.
{"title":"Une philosophie ricoeurienne de l’image","authors":"Samuel Lelièvre","doi":"10.5840/studphaen20232312","DOIUrl":"https://doi.org/10.5840/studphaen20232312","url":null,"abstract":"While inheriting from Husserl’s phenomenology, Ricoeur aims at determining a philosophical anthropology. Imagination can then be thought as what makes possible a mediation dealing with the disproportion between sensibility and understanding; it can be seen as one of the guiding threads of Ricoeur’s anthropology before becoming a theme or a field of analysis. But if this philosophy of imagination encompasses the issue of image, to the point of making these two terms mostly interchangeable, it too includes a specific philosophy of image, which must be recovered. In this perspective, one could follow a path going from the most general standpoint (the elaboration of a philosophy of image in the wake of a phenomenology of imagination) to the most particular one (the recognition of the image as a symbol, sign or trace) while determining the role of symbolic mediation related to image.","PeriodicalId":42801,"journal":{"name":"Studia Phaenomenologica","volume":"59 10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135750894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.5840/studphaen2023232
Seyran Sam
This paper attempts to examine imagination with respect to its two poles and argues that in the phenomenological framework the locus of imagination is one between perception and ideation. Where imagination approaches perception we encounter the terminus a quo of imagination and therefore its lower limit and where it approximates ideation, we encounter its terminus ad quem and therefore its upper limit. In the former case we find the first form of imagination, which is the least articulated sense of imagination: image-consciousness. In the latter case we find the last form of imagination, which is the most articulated sense of imagination: free phantasy. On the one hand, then, image-consciousness is delineated from perception, and accordingly it is delineated from something that is determined. On the other hand, free phantasy is delineated from ideation, and as such it is delineated from something that is determining it. Situated between something that is determined and something that is determining it, the different forms of imagination can be said to have acquired different levels of freedom; imagination becomes freer the more it departs from perception and the more it approximates ideation.
{"title":"The Limits of Imagination in Husserl","authors":"Seyran Sam","doi":"10.5840/studphaen2023232","DOIUrl":"https://doi.org/10.5840/studphaen2023232","url":null,"abstract":"This paper attempts to examine imagination with respect to its two poles and argues that in the phenomenological framework the locus of imagination is one between perception and ideation. Where imagination approaches perception we encounter the terminus a quo of imagination and therefore its lower limit and where it approximates ideation, we encounter its terminus ad quem and therefore its upper limit. In the former case we find the first form of imagination, which is the least articulated sense of imagination: image-consciousness. In the latter case we find the last form of imagination, which is the most articulated sense of imagination: free phantasy. On the one hand, then, image-consciousness is delineated from perception, and accordingly it is delineated from something that is determined. On the other hand, free phantasy is delineated from ideation, and as such it is delineated from something that is determining it. Situated between something that is determined and something that is determining it, the different forms of imagination can be said to have acquired different levels of freedom; imagination becomes freer the more it departs from perception and the more it approximates ideation.","PeriodicalId":42801,"journal":{"name":"Studia Phaenomenologica","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135748654","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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