The debate on personal persistence has been characterized by a dichotomy which is due to its still Cartesian framwork: On the one side we find proponents of psychological continuity who connect, in Locke’s tradition, the persistence of the person with the constancy of the first-person perspective in retrospection. On the other side, proponents of a biological approach take diachronic identity to consist in the continuity of the organism as the carrier of personal existence from a third-person-perspective. Thus, what accounts for (...) someone’s persistence over time, is the continuity of his mind on the one hand, and the continuity of his body on the other. In contrast to those views, the paper intends to show that bodily existence represents the basis of selfhood across time, both as the continuity of the experiential self and as the continuity of the autopoietic organism. On the one hand, the lived body conveys a continuity of the self from a first-person perspective, namely a pre-reflective feeling of sameness or a felt constancy of subjectivity. Moreover, an analysis of awakening and sleep shows that there is a continuous transition from full wakefulness to periods of deep sleep which may thus not be regarded as a complete interruption of subjective experience. On the other hand, this constancy converges with the continuity of the organismic life process as conceived from a third-person perspective. Thus, the experiential self of bodily subjectivity and the autopoietic self of the living organism should be regarded as two aspects of one and the same life process. Finally, the lived body also exhibits a specific form of memory that results from the continual embodiment of existence: it consists of all the affinities, capacities and experiences, which a person has acquired throughout his life. Thus, it provides a continuity of self that must not be actively produced through remembering, but rather integrates the person’s entire past in his present being and potentiality. (shrink)

This paper explores space as a core source of aesthetic pleasure in various codes of football. The paper begins by applying Kant’s distinction between the agreeable and the pleasurable to sport, arguing that the appreciation of sport entails more than just excitement. Pleasure comes from an appreciation of the rules, strategies and history of the game. The significance of the rules of various codes of football in articulating our experience of space will be taken as fundamental to such appreciation. Drawing (...) on the phenomenology of Merleau-Ponty and the ‘topoanalysis’ of Gaston Bachelard, it will be argued that the aesthetic appreciation of football lies, not simply in recognising the complexity and subtlety of the movement of players and ball about the pitch, but more significantly in the creative and poetic imagination that the player embodies, and the striving of the player to create places within the course of play within which they can exercise their own competence as a player, and inhibit the compete.. (shrink)

Within the context of health and social care education, attempts to define ‘scholarship’ have increasingly transcended traditional academic conceptions of the term. While acknowledging that many applied disciplines call for a kind of ‘actionable knowledge’ that is also not separate from its ethical dimensions, engagement in the caring professions in particular provides an interesting exemplar that raises questions about the nature and practice of ‘actionable knowledge’: how is such knowledge from different domains integrated and sustained? This paper is theoretical and (...) wishes to outline some philosophical ideas that may be important when considering the characteristics of the kind of scholarship for caring practices that draw on deep resources for creativity and integration. Firstly, there is an attempt to clarify the nature of scholarly practice by drawing on Aristotle’s notion of ‘phronesis’ . Secondly, a more meditative approach to the integration of knowledge, action and ethics is highlighted. Finally, its implications for scholarship are introduced, in which scholarly integration may best be served by more contemplative ways of being and thinking. Drawing on Heidegger and Gendlin, we consider the challenges of contemplative thinking for pursuing scholarly practice. We articulate contemplative thinking as an unspecialized mode of being that is given to human beings as an intimate source of creativity. The sense in which unspecialization can be cultivated and practised is discussed. (shrink)

This phenomenological investigation aims to explore the lived experience of being vegan or vegetarian in a society and culture that is primarily non-vegetarian. As members of a unique minority group, vegans and vegetarians can sometimes be misunderstood by non-vegetarians and stereotyped as judgmental or difficult to deal with. Living with this type of misunderstanding from others can lead to feelings such as worry, loneliness, and fear. As such, the use of phenomenological inquiry is well suited to uncover the lived experience (...) this phenomenon in such a way that no other method of inquiry could. The author brings forward themes that emerged from in depth conversations with two vegan/vegetarian participants, and draws from her own personal experiences as a vegetarian to supplement the data and further uncover the phenomenon. Themes are brought forward through the use of, among other works, Hyppolite’s and Bachelard’s descriptions of “inside vs. outside” and van Manen and Levering’s notion of secrecy. (shrink)

For over 2000 years, the sublime has been a source of fascination for philosophers, artists, and even the general public at times. We have written hundreds of treatises on the subject, put forth innumerable definitions and explanations, and even tried to reproduce it in art and literature. But, despite our efforts, our understanding of the sublime remains elusive. In this paper, the sublime is explored as a potential human experience that can be evoked by an image. Drawing upon concrete experiences, (...) the phenomenon of sublimity suggests a compelling, embodied response to the visual object that can evoke a fundamental change of being. (shrink)

This bricolage of verses and prose, addresses the themes of poetics in and of philosophizing, and brings poetic provocations to philosophical musings. Authors muse on what it is to philosophize in the mood and mode of poetics, and why that matters for Education. Preliminary incursions are made into the issues of entrenched dualism between intellect (mind) and senses (heart), and ensuing privileging of the former over the latter. A collegially written introduction sets the general framework.

This essay argues a case for viewing Derrida's work in the context of recent French epistemology and philosophy of science; more specifically, the critical‐rationalist approach exemplified by thinkers such as Bachelard and Canguilhem. I trace this line of descent principally through Derrida's essay ‘White Mythology: Metaphor in the Text of Philosophy’. My conclusions are (1) that we get Derrida wrong if we read him as a fargone antirealist for whom there is nothing ‘outside the text'; (2) that he provides some (...) powerful counter‐arguments to this and other items of current postmodern wisdom; (3) that deconstruction is more aptly viewed as continuing the epistemo‐critical approach developed by thinkers like Bachelard; and (4) that it also holds important lessons for philosophy of science in the mainstream Anglo‐ American ‘analytic’ tradition. (shrink)

Spaces of Geographical Thought examines key ideas like space and place - which inform the geographic imagination. The text: discusses the core conceptual vocabulary of human geography: agency: structure; state: society; culture: economy; space: place; black: white; man: woman; nature: culture; local: global; and time: space; explains the significance of these binaries in the constitution of geographic thought; and shows how many of these binaries have been interrogated and re-imagined in more recent geographical thinking. A consideration of these binaries will (...) define the concepts and situate students in the most current geographical arguments and debates. The text will be required reading for all modules on the philosophy of geography and on geographical theory. (shrink)

“Home” is well known from everyday experience, plays a crucial role in all kinds of narratives about human life, but is hardly ever systematically dealt with in the philosophy of medicine and health care. The notion of home is ambiguous, is often used in a metaphorical way, and is closely related to concepts such as house and dwelling. In this paper the phenomenon of home is explored by means of some phenomenological writings of Heidegger, Bollnow, Bachelard and Levinas. Common in (...) their views is that being at home and dwelling mean something more fundamental than an activity we do along with other activities, such as working and travelling. Dwelling, building a house and being at home are fundamental aspects of human existence. Being human is dwelling. While exploring the relevance of this phenomenological perspective for medical theory and practice, the focus is on the care of people suffering from dementia. (shrink)

The phenomenological attitude is essential for practising phenomenology. Many refer to wonder and wonderment as basic attitudes and ways of being present with and listening to phenomena. In this article a critical view is placed on the typically psychologically-loaded language and tonality that is used by phenomenological researchers in the human sciences in order to describe the wonder and openness they try to be a part of when doing phenomenology. With reference to the difference between Heidegger’s and Gadamer’s views on (...) Socratic dialectics the author points to an ontological dimension in the phenomenology of wonder that cannot be reached by taking only an emotional-bodily-oriented approach (the psychological approach) or an aesthetical-intuitiveoriented approach (the late Heidegger poeticised philosophizing). Instead this dimension must be reached through a Socratic questioning and Community of Wonder. Indo-Pacific Journal of Phenomenology , Volume 12, Special Edition July 2012. (shrink)

The richness and subtlety of the felt presence phenomenon introduced by “Felt Presence: the uncanny encounters with the numinous Other” (Solomonova et al., this issue) offers a challenge to the emerging field of new media. How to create a computer-mediated environment which can engender a spontaneous, creative, and individualized experience such as felt presence? The Other experiment described in this paper explores the possibility of unfolding phenomenological and poetic aura of felt presence experience in a media-rich environment with liminal stimulation, (...) dosed carefully, and open to interpretation. (shrink)

The natural or biological world often provides models of the simplicity, elegance and complex interactivity that we seek to impart to our technologies, buildings and artworks. Within discussions of form, materials or functionality, we look to the world of insects, animals, plants and even our own bodies for solutions and innovation. Though we may work with the organisms themselves, the first step usually involves a rupture of context, a mutation of interdependent being into a discrete object, a model for the (...) extraction of desired characteristics. The reality of embedded wild growth, with its complexity and interrelation, has often been described in terms of infestation or of ‘nature taking over,’ a challenge to our dominance of the world. However, a closer study of this interpenetration of uncontrolled nature within spaces around us reveals our immediate surroundings to be both wilder and more alive than we often presume them to be. (shrink)

This paper aims to trace the evolution of Bachelard's thought as he gropes toward a concrete formulation of a philosophy of the imagination. Reverie, the creative daydream, occupies the central position in Bachelard's emerging metaphysic, which becomes increasingly “phenomenological” in a manner reminiscent of Husserl. This means that although Bachelard does not use Husserlian terms, he appropriates the following features of (Husserlian) phenomenology: 1. a desire to “embracket” the initial (rationalistic) impulse; and 2. an aspiration to apprehend in its entirety, (...) the creative epiphany of an image. Ultimately, this paper aims to show that there is a sense in which Bachelard's metaphysical concerns in his poetics are an outgrowth of (rather than radical break from) his earlier scientific and epistemological concerns. What results in reverie is an aesthetic intentionality providing a metaphysic of the imagination: the aesthetic object, such as fire or water, is an object only insofar as it enables/calls forth a subject to enter into a receptive, self-aware and cosmic state of being; subject-ness and object-ness are intimately and archetypally intertwined. Bachelard's “new poetics” results from his transplantation/cross-fertilization of the general epistemology of the “new scientific spirit” on to/across his aesthetics. (shrink)

The concept ‘silence’ has diametrically opposed meanings; it connotes peace and contemplation as well as death and oblivion. Silence can also be considered a practice. There is keeping the rule of silence to still the mind and find inner truth, as well as forcibly silencing in the sense of subjugating another to one's own purposes. The concept of teaching runs the gamut between these extremes, from respectfully leading students to search and discover, to relentlessly bending them to one's own will. (...) This article examines contradictory connotations and practices of silence and teachers’ ambivalent perceptions of it in order to conceptualize a positive practice of silence for teacher education. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

Agoraphobia is commonly considered to be a fear of outside, open, or crowded spaces, and is treated with therapies that work on acclimating the agoraphobic to external places she would otherwise avoid. I argue, however, that existential phenomenology provides the resources for an alternative interpretation and treatment of agoraphobia that locates the problem of the disorder not in something lying beyond home, but rather in a flawed relationship with home itself. More specifically, I demonstrate that agoraphobia is the lived body (...) expression of a person who has developed an inward-turning tendency with respect to being-at-home, and who finds herself, as a result, vulnerable and even incapacitated when attempting to emerge into the public arena as a fully participatory agent. I consider this thesis in light of the fact that since World War I agoraphobia has been diagnosed significantly more in women than in men; indeed, one study found women to be 89% more likely than men to suffer from agoraphobia. I conclude that agoraphobia is a disorder that stands as an emblematic expression of the ongoing pathology of being a woman in contemporary society–a disorder that reflects that even today women belong to a political world in which they are not able to feel properly at-home. (shrink)

This book is an invitation to academic administrators, at every level, to engage in reflection on the ethical dimensions of their working lives.

Gaston Bachelard's thought remains a continual source of inspiration for a phenomenological psychology that takes human habitation as a fundamental given and as an abiding mystery of the human condition. the following essay explores the ideas Bachelard developed in the course of his study of poetry. It examines in particular his vision of imagination as a unique passage way by means of which we reach an inhabitable, intersubjective and fully human world. Within that perspective, our lives are constantly renewed by (...) the appearance of a revealing image or a telling metaphor. Each time that we are awakened by this appeal we commemorate the birth and rebirth of a human world. (shrink)

Though “dwelling” is more commonly associated with Heidegger’s philosophy than with that of Merleau-Ponty, “being-at-home” is in fact integral to Merleau-Ponty’s thinking. I consider the notion of home as it relates to Merleau-Ponty’s more familiar notions of the “lived body” and the “level,” and, in particular, I consider how the unique intertwining of activity and passivity that characterizes our being-at-home is essential to our nature as free beings. I argue that while being-at-home is essentially an experience of passivity—i.e., one that (...) rests in the background of our experience and provides a support and structure for our life that goes largely unnoticed and that is significantly beyond our “conscious” control—being-at-home is also a way of being to which we attain . This analysis of home reveals important psychological insights into the nature of our freedom as well as into the nature of the development of our adult ways of coping and behaving. (shrink)

Do places matter educationally? When Edward Casey remarks: ‘The world is, minimally and forever, a place‐world’, we might take this statement as presupposing without argument that places exist as a given, that we know what a place is, a point that Aristotle would have never taken for granted and in fact neither does Casey. I find Casey's remark that we live in ‘a place‐world’ an immensely rich turn of phrase, forever packed with an infinite and diverse range of landscapes reflecting (...) our being in the world, a maze of wonders, an orchestra of different subtle sounds where places are witnessed, mimicked and created. We submerge ourselves in the gamesome labour of place and learn to perceive and quiver in its light. I will discuss through a phenomenological perspective the self‐givenness of place experience, the unfolding of a life that is an aspect of one's own space and horizon. The relationship between place and being and the aesthetic way that I discuss this is central to this paper's analysis, a position that is at odds with those who favour a more macro theoretical perspective that eclipses place. My analysis focuses on a philosophical exploration of being‐in‐place, where place becomes being. Much is made of the thought that place is primarily an aesthetically lived experience where we create ourselves. An attempt is made to show how an embodied sense of being in place transforms places of learning. The paper attempts to acknowledge the kind of governing power of being that place interconnections can enclose, personalize and create. (shrink)

: This paper goes beyond critiques of western philosophical notions of space as passive, feminine, and unintelligent by reconfiguring containment as an (inter-)active process. The author draws on work in the history of technology, on a cybernetic epistemology that emphasizes the interdependence of organism and environment, and on intersubjectivist psychoanalytic theories of the maternal provision. A more unexpected ally is found in Heidegger, whose writings on holding and supply are read in ways that contribute to the development of an urgently (...) required philosophy of container technologies. (shrink)

: The "Home" is ideologically understood as a place of safety and refuge. Such an account cloaks violence against women. The voices of battered women can disrupt that dominant construction of the space of the home, a construction typified by the work of Gaston Bachelard. The space that Bachelard presupposes and theorizes as given is in fact being-produced, cleaned, and organized by people who themselves may not find in it any solace or respite.

[full article, abstract in English; abstract in Lithuanian] Constructionists operationalize a powerful notion they share with constructivists: individual learning is facilitated by building models of specific ideas, concepts, methods, objects, environments, feelings, dreams, memories and sounds using the learner’s current stock of knowledge. Constructionists do this by building models or artifacts that can be externally manipulated, interrogated by their builder, and verbally shared with others. Constructionists believe that new knowledge is created during these discussions. Constructionism is rich with heuristic methods (...) for both finding and constructing artifacts and for discussing these artifacts privately and publicly. Constructionists argue that both constructing and discussing are necessary for deep sense-making. This paper describes one specific constructionist learning method: visual modeling. It illustrates one educator’s approach, developed in the classroom over a 40-year period. It references the relevant literature; describes its pedagogic approach, materials and outcomes; and it offers a step-by-step example of one student’s thinking process. Finally, it presents – in appropriate narrative form – 15 arguments why the visual component extends the constructionist project and should be integrated into more educational programs. (shrink)

Philosophical anthropology aims to discover what makes us human, but it has produced accounts that exclude some members of our species. It relies often on a non-naturalistic “philosophy of consciousness” and locates humanity in the cognitive capacity to objectively represent things, to reason teleologically and use tools, to use symbols and language, or to be self-conscious and question existence. This work pursues an alternative, thoroughly naturalistic philosophical anthropology in the tradition of Arnold Gehlen. Combining Gehlen’s theory of our behaviorally-detached and (...) culturally-determined impulses with Maurice Merleau-Ponty’s views on intersubjectivity, affect, sexuality, and social institutions, the present work locates the human within the unique structure of human feeling. This produces a truly inclusive account of “the human as the other” or Homo alter. The human is deeply and thoroughly dependent on affective, bodily, communicative bonds, in which others appear as sources of meaning, norms, pleasure, and approbation and disapprobation. This socio-biological account of the human makes institutionality central to our form of life but rejects any political anthropology that attempts to use human nature to prescribe a necessary form to institutions such as the home. Such a social and affective account of the human produces a novel approach to the affect of shame as the feeling of institutional rejection. Ultimately, this work uses philosophical anthropology to combat dehumanization. Our unique form of dependency on others and institutions is present, for example, in infants and the severely disabled who may not possess the forms of consciousness and cognition that traditionally are identified with being human. (shrink)

Philosophers and artists consider the relevance of Maurice Merleau-Ponty’s philosophy for understanding art and aesthetic experience. This collection of essays brings together diverse but interrelated perspectives on art and perception based on the philosophy of Maurice Merleau-Ponty. Although Merleau-Ponty focused almost exclusively on painting in his writings on aesthetics, this collection also considers poetry, literary works, theater, and relationships between art and science. In addition to philosophers, the contributors include a painter, a photographer, a musicologist, and an architect. This widened (...) scope offers important philosophical benefits, testing and providing evidence for the empirical applicability of Merleau-Ponty’s aesthetic writings. The central argument is that for Merleau-Ponty the account of perception is also an account of art and vice versa. In the philosopher’s writings, art and perception thus intertwine necessarily rather than contingently such that they can only be distinguished by abstraction. As a result, his account of perception and his account of art are organic, interdependent, and dynamic. The contributors examine various aspects of this intertwining across different artistic media, each ingeniously revealing an original perspective on this intertwining. (shrink)

Human perception has long been a critical subject of design thinking. While various studies have stressed the link between thinking and acting, particularly in spatial experience, the term “design thinking” seems to disconnect conceptual thinking from physical expression or process. Spatial perception is multimodal and fundamentally bound to the body that is not a mere receptor of sensory stimuli but an active agent engaged with the perceivable environment. The body apprehends the experience in which one’s kinesthetic engagement and knowledge play (...) an essential role. Although design disciplines have integrated the abstract, metaphoric, and visual aspects of the body and its movement into conceptual thinking, studies have pointed out that design disciplines have emphasized visuality above the other sensory domains and heavily engaged with the perception of visual configurations, relying on the Gestalt principles. Gestalt psychology must be valued for its attention to a whole. However, the theories of design elements and principles over-empathizing such visuality posit the aesthetics of design mainly as visual value and understate other sensorial and perceptual aspects. Although the visual approach may provide a practical means to represent and communicate ideas, a design process heavily driven by visuality can exhibit weaknesses undermining certain aspects of spatial experience despite the complexity. Grounded in Merleau-Ponty’s notion of multisensory perception, this article discusses the relationship between body awareness and spatial perception and its implication for design disciplines concerning built environments. Special attention is given to the concepts of kinesthetic and synesthetic phenomena known as multisensory and cross-sensory, respectively. This discussion integrates the corporeal and spatiotemporal realms of human experience into the discourse of kinesthetic and synesthetic perceptions. Based on the conceptual, theoretical, and precedent analyses, this article proposes three models for design thinking: Synesthetic Translation, Kinesthetic Resonance, and Kinesthetic Engagement. To discuss the concepts rooted in action-based perception and embodied cognition, this study borrows the neurological interpretation of haptic perception, interoception, and proprioception of space. This article suggests how consideration of the kinesthetic or synesthetic body can deepen and challenge the existing models of the perceptual aspects of environmental psychology adopted in design disciplines. (shrink)

Pierre Bourdieu famously dismissed phenomenology as offering anything useful to a critical science of society – even as he drew heavily upon its themes in his own work. This paper makes a case for why Bourdieu’s judgement should not be the last word on phenomenology. To do so it first reanimates phenomenology’s evocative language and concepts to illustrate their continuing centrality to social scientists’ ambitions to apprehend human engagement with the world. Part II shows how two crucial insights of phenomenology, (...) its discovery of both the natural attitude and of the phenomenological epoche, allow an account of perception properly responsive to its intertwined personal and collective aspects. Contra Bourdieu, the paper’s third section asserts that phenomenology’s substantive socio-cultural analysis simultaneously entails methodological consequences for the social scientist, reversing their suspension of disbelief vis-à-vis the life-worlds of interlocutors and inaugurating the suspension of belief vis-à-vis their own natural attitudes. (shrink)

Translated from: W.V.O.Quine, W. H. O. (1986): Philosophy of Logic. Second Edition. Harvard University Press. Cambridge, Massachusetts and London, England, 47-61.

Recently the CJEU decision in the case of ‘Ewa Glawischnig-Piesczek v. Facebook Ireland Limited’ has raised the issue of the transcultural/trans-territorial signification of hate speech and hate crimes. Taking a cue from this decision and the related semiotic/legal implications, the paper proposes an analysis of the semio/pragmatic conditions for the production of performativity inherent in hate speech across different cultural universes of discourse. Given that web-based digital communication is global—at least, potentially—regardless of any spatial/political compartmentalization, it crosses different semio-cultural circuits. (...) This trans-spatiality implies transcultural crossings that can multiply and even transfigure the semantic implications of the original signifier and the related prognoses of ‘semantic effectiveness.’ Cultural boundaries therefore may function as a kind of ‘horizon of events’ for hate speech and, more inclusively, all linguistic acts and their legal signification/classification. The question then arises regarding whether and to what extent the performativity of hate speech is able to withstand the variation of cultural boundary conditions. Insofar as cultures are universes of experience, the issue to be investigated broadens, and ends up invoking the question of whether or not the production of performativity implicitly presupposes and tacitly epitomizes the semio-pragmatic implications/consequences (or, in Peircean terms, ‘bearings’) coextensive with cultural universes of experience. Were this the case, it would seem to call into question the very possibility of ‘making things only with words,’ or more explicitly, the alleged meaning of ‘linguistic acts.’. (shrink)

With rapid changes in urban living today, peoples’ behavioural patterns and spatial practices undergo a constant process of adaptation and negotiation. Using “house” as a laboratory and everyday life and spatial relations of residents as a framework of analysis, the paper examines the spatial planning concepts in traditional and contemporary Iranian architecture and the associated socio-cultural practices. Discussions are drawn upon from a pilot study conducted in the city of Kerman, to investigate ways in which contemporary housing solutions can better (...) cater to the continually changing socio-cultural lifestyles of residents. Data collection for the study involved a series of participatory workshops and employed creative visual research methods, participant observation and semi structured interviews to examine the interlacing of everyday socio-spatial relations and changing perception of identity, belonging, socio-cultural and religious values and conflict. The inferences from the study showcases the emerging social and cultural needs and practices of people manifested through the complex relationship between residents, the places in which they live, and its spatial planning and organisation. For a better understanding of this complex relationship, the paper argues the need for resituating spatiality as a socio-cultural paradigm. (shrink)

How is the desk, or the room in which one works and day-dreams, a concern for critical political economy? How does this theme open onto thinking about ‘the new normal’? Marx’s concept of the consumption fund and Bachelard’s poetics of space will help us plot the basic terms of a poetical/political economy adequate to law’s involvement in the intimate topographies of post-pandemic capitalism. This paper proposes a phenomenology of intimate lived space that can provide the intellectual tools to understand the (...) topographies of bedroom offices, kitchen table desks and car/taxis where capital takes possession of daily life. (shrink)

This paper reflects on affect and emotion as they relate to poetics — her/histories — in twenty-first century museums. Using specific examples, it considers the ways in which collections of material culture hold diverse meanings and how ideas are communicated to audiences over time and space but might also be challenged through imaginative activity. Key objects, exhibitions and activities discussed highlight masculinities at work in museums and include the temporary art installations by Yinka Shonibare and Fred Wilson in the Victoria (...) and Albert Museum's (V&A) Norfolk House Music Room in 2007; the portrait in oils of the Jamaican scholar Francis Williams, painted by an anonymous artist around 1745; and a contemporary oral commentary by Benjamin Zephaniah in the V&A British Galleries, which are considered through a feminist lens of poetics. (shrink)

In our culture, intelligence, emotions and embodied intuitions continue to be seen as separate categories. The body is regarded as a medium of identity as well as social and sexual appeal, but neglected as the ground of embodied existence and silent knowledge, or the full understanding of the human condition. Prevailing educational and pedagogic practices also still separate the mental and intellectual capacities from emotions and the senses, and the multifarious dimensions of human embodiment.

This paper considers the role of myth and phenomenology in Pierre Schaeffer’s research into music and sound, and argues that engagement with these themes allows us to rethink the legacy and contemporary value of Schaeffer’s thought in sound studies. In light of critique of Schaeffer’s project, in particular that developed by Brian Kane and Schaeffer’s own apparent self-disavowal, this paper returns to Schaeffer’s early remarks on the “myth of the seashell” in order to examine the conditions of this critique. While (...) Kane argues that Schaeffer’s recourse to myth, coupled with his adoption of Husserlian phenomenology, leads to a closure of his inquiry and a failure to accommodate the contingency of his position, this paper argues that Schaeffer’s myth of the seashell brings into focus an open-ended, motivating phenomenological problem concerning subjectivity and objectivity that runs through his thought. Drawing on the philosophical work of Gaston Bachelard and Gilles Deleuze, this paper considers the epistemological significance of this moment in Schaeffer’s thought, suggesting a “problematic” account of the myth of the seashell that puts Schaeffer into conversation with contemporary work in epistemology. (shrink)

This article presents Durkheim as a Neo-Kantian social thinker and a source of the theory of emotional contagion. The Elementary Forms of Religious Life is examined as Durkheim’s paradigm case of Neo-Kantianism. He is first considered among the intellectual context of French Neo-Kantianism and its figures Charles Renouvier, Émile Boutroux, and Octave Hamelin, all whom were influential in his formative years. Durkheim’s Neo-Kantianism in The Elementary Forms of Religious Life is then juxtaposed to the Neo-Kantian legal philosophy of Emil Lask (...) and Hans Kelsen. Agued is that Durkheim’s notions of distortion and emotional contagion are his leading contributions to Neo-Kantianism. (shrink)

Theories of personal identity in the tradition of John Locke and Derek Parfit emphasize the importance of psychological continuity and the abilities to think, to remember and to make rational choices as a basic criterion for personhood. As a consequence, persons with severe dementia are threatened to lose the status of persons. Such concepts, however, are situated within a dualistic framework, in which the body is regarded as a mere vehicle of the person, or a carrier of the brain as (...) the organ of mental faculties. Based on the phenomenology of embodiment, this paper elaborates a different approach to personal identity in dementia. In this perspective, selfhood is primarily constituted by pre-reflective self-awareness and the body memory of an individual, which consists in the embodiment and enactment of familiar habits, practices and preferences. After describing the different types of body memory, the paper develops a phenomenology of dementia as a loss of reflexivity and meta-perspective. This is contrasted with the preservation of individual forms of body memory even in the later stages of the illness. The ethical consequences of an embodied approach to dementia are outlined. A final look is given to narrativistic and constructionist concepts of the self in dementia. (shrink)

The current COVID-19 pandemic has reactivated ancient metaphors but also initiated a new vocabulary: social distancing, lockdown, self-isolation, and sheltering in place. Terminology is not ethically neutral but reflects prevailing value systems. I will argue that there are two metaphorical vocabularies at work: an authoritarian one and a liberal one. Missing is an ecological vocabulary. It has been known for a long time that emerging infectious diseases are associated with the destruction of functioning ecosystems and biodiversity. Ebola and avian influenza (...) viruses have been significant warnings. Obviously, this pandemic will not be the last one. As the planet is our common home, the major metaphor to explore is sheltering at this home. (shrink)

Philosophy and Phenomenological Research, EarlyView.

Where do computer games "happen"? The articles collected in this pioneering volume explore the categories of "space," "place," and "territory" to lay the groundwork for the study of spatiality in games.

This chapter considers the presence, in digital games, of experiences of dwelling. Starting with an engagement with the philosopher Edward S. Casey's distinction between hestial and hermetic spatial modes, the chapter argues that the player's spatial engagement with digital game worlds has tended to align with the hermetic pole, emphasizing movement, traversal and exploration. By contrast, hestial spatial practices, characterized by centrality, lingering and return, are far less prevalent both in digital games themselves and in discussions on spatiality in the (...) game studies discourse. To counter this lack, this chapter draws upon philosophical work on space by Casey, Martin Heidegger, Yi-Fu Tuan and Christian Norberg-Schulz, using these as a conceptual lens to identify spatial structures and practices in digital games that diverge from the hermetic mode. Attention is paid to games that invite pausing and lingering in place, games where the player's relation to place is structured around practices of building, the phenomenology of home and dwelling in games, and familiarity and identity as experiential characteristics of being at home. Minecraft and Animal Crossing: New Leaf are examined in detail as case studies, though the chapter also refers to examples from other games. (shrink)

In this paper, I explore the phenomenon of a felt sense of the concrete other. Although the importance of this phenomenon is recognised in the contemporary discussion on intercorporeality, it has not been subjected to systematic phenomenological analysis. I argue that the felt sense of the other is an aspect of intercorporeal body memory in so far as it is a habituation to something like the concrete other’s expressive style. Because it is inherently a sensory phenomenon, I speak of an (...) embodied sensorium of the other. I illustrate the phenomenon through contrasting case-vignettes taken from research in early parental bereavement. Based on this, I identify five modalities that outline the fundamental contours of a sensorium and specify that in their intermodal and synesthetic concretion they account for the felt sense of the other. Finally, I argue that the existential importance of the phenomenon is rooted in the distributed nature of my sense of self and self-familiarity. To illustrate this, I draw parallels between the felt sense of the concrete other and the felt sense of home and suggest that though there are also distinct differences between the two phenomena, they are rooted in the same underlying existential need for feeling-at-home in the world. (shrink)

The current studies have revealed that there are some similarities between the philosophical foundations of Sohrab Sepehri’s poems and some phenomenological notions. The essence of Sepehri’s message as well as that of phenomenologists is that human being should discover himself or herself through his or her pure cognitive nature, and not from science or books. Following a descriptive and content analysis approach, in this study, we have dealt with the phenomenological thoughts on the creation of some innovative image in Sepehri’s (...) poems. It is assumed that some of Sepehri’s images cannot be revealed just by literary analysis, and a philosophical perspective is required too. To create images like ’a mere bird’ and ’the frank sunlight’, Sepehri has resorted to some notions in phenomenology. Edmund Husserl has opened a novel area of thought called ’epoche’. It refers to a stage of cognition in which the mere self or the thoughtful self and observer suspends all his or her judgements on the existence of the world. When Sepehri pens; ’the mere bird sings.’, his goal is not just creating a foregrounded and innovative image, but indeed he attempts to give weight to a concept like ’epoche’ by his own philosophical impressions. Keywords: image, poem, Sepehri, phenomenology, epoche. 1. Introduction Sohrab Sepehri is one of the most celebrated figures of the Iranian contemporary poets. His distinct language and thought has attracted the attention of a great number of readers of poems. In this study, we have analyzed a type of his images through Edmund Husserl’s phenomenology. The current studies indicate that there are some similarities as well as matches between the philosophical foundations of Sohrab Sepehri’s poems and some phenomenological notions. In effect, this study does not aim to give a thorough picture of phenomenological aspects of Sepehri’s poetry. However, in some cases a brief explanation on similarities is provided. An invitation to intuitive understanding and direct, immediate wisdom about the surrounding world and the unity of subject and object, and dealing with the essence of things constitute the main teachings of Sepehri’s poetry, teachings which go hand by hand with phenomenological notions. The gist of Sepehri’s poetry is that human being must acquire an understanding directly from nature, and not from science or books. Following a descriptive and content analysis approach, in this study, we have dealt with the phenomenological thoughts on the creation of some innovative image in Sepehri’s poems. It is assumed that there are some of Sepehri’s images and rhetorical techniques are not revealed just by literary analysis, and some domains such as philosophy are also required too. To create images like ’a mere bird’, ’the frank sunlight’, ’the mere forehead’, ’the mere instant’ and ’the white event’, Sepehry has resorted to some notions in Husserl’s phenomenology. In effect, in creating such images, Sepehri has paid attention to the idea of ’epoche’, a notion in Husserl’s phenomenology. ’Epoche’ is a stage of cognition where ’the mere I’ or ’the thoughtful and observing I’ suspends all judgements on the existence of the physical world. By saying ’The mere bird sings’, Sepehri is not merely providing an innovative and foregrounded image, but also relies on philosophical notions in order to refer to a concept like ’epoche’. 2. Findings ’Epoche’ suspends any philosophical judgment on the real world and pushes presuppositions related to a specific area to the periphery. In an expression like ’mere bird’, Sepehri comprehends bird without any sort of characteristic and feature. The idea of ’seeing in a different way’ maintains that the observer should leave all presuppositions and comprehends the world directly. Sepehri connects to the essence of bird, forgetting any distinctive idea about the bird. Relying on an idea similar to ’epoche’ he attempts to draw the attention of the reader to the very bird, without any judgment about the bird. In the poem ’There was no lake, there was a white event and nothing else’, the rest would be interpreted by the reader depending on his own life-world. Sepehri has such approach towards the world and he does not let presuppositions make us see vulture and clover flower as ugly and debased things. He recommends his readers to suspend their presuppositions on the real world. As such, sometimes philosophical perspectives provide novel images to deeply comprehend literary texts. 3. Argument It is not clear whether Sepehri had been familiar with ideas of phenomenologists such as Husserl. Maybe he was exposed to such ideas while studying in Faculty of Fine Arts of Tehran, or during his trips to Europe and U.S. It would also be possible that Sepehri had acquired such ideas through Krishnamurti’s thoughts. Likewise, a personal conduct is not impossible too. The distinct wording of Sepehri has made some of his poems ambiguous in such a way that critics had to evade some images by just general remarks. Here, it is argued that the attempts made by all critics to interpret linguistic and aesthetic aspects of such images are not fully successful as Sepehri’s images are the result of his philosophical insight. His motivation to create such images was philosophical rather than literary. Most of the excellence of these images lies in his philosophical framework and his novel look to the universe. Therefore, familiarity with phenomenological thoughts could help readers to understand Sepehri’s abstract images. Images like ’mere bird’, ’absolute forehead’, ’explicit sun’, ’explicit Vodka’, ’pure spot’, ’pure things’, ’mere lands’, ’clarity of pigeons’, ’no-discount decisive presence’, and ’persistent mournful color’ are waiting for philosophical reading rather literary interpretation. It is Sepehri’s philosophical thoughts and intuitive understanding of universe and life that have made him create such images, not just a tendency to bring innovation to his poems, a tendency popular among other poets. It seems that ’look’ and ’wonder’ in Sepehri’s poetry are poetic counterparts for phenomenological suspension, and even if they do not match together completely, these two conditions follow a phenomenological suspension. A ’look’ for this poet equals ’we should wash our eyes and see in some other way’ and this would be impossible unless a phenomenological suspension is occurred whereby all presuppositions are suspended. 4. Conclusion Sepehri has followed Husserl’s recommendation let alone he has been familiar with the philosopher’s theory or not, as firstly always his consciousness involved things in the real world; Secondly, Sepehri has always escaped the conceptual thinking. Shamisa’s and Shafiei Kadkani’s explanation of Sepehri’s poems involve conceptual thinking. Thirdly, in Sepehri’s poem, world acquires authenticity as it appears, and this world is distinct from the world made in Sepehri’s mind, and the independent world which is reflected in conceptual thinking. References - Aminpour, Qeysar. Anthology of Qeysar Aminpour Poems, 3rd Edition, Tehran, Morvarid Publishers. - Bachelard, Gaston. The Poetics Of Space., Canada: The Orion Press. - Baraheni, Reza. Gold in Copper, First Edition, Tehran: Author. - Bell, David. Husserl’s Thoughts,, First Edition, Tehran, Markaz Publishing Company. - Hoghooghi, Mohammad. Our Contemporary poetry Sohrab Sepehri, 13th Edition, Tehran: Negah Publishers. - Hosseini, Saleh. Silen Lilies: An Overview of Sohran Sepehri’s Poetry, 5th Edition, Tehran: Niloufar Publishers. - Husserl, Edmund. Cartesian Meditations, 2st Edition, Tehran: Ney Publishers. - Lyotard, Jean-Francois. Phenomenology, 1st Edition, Tehran: Ney Publishers. - Moran, D., money, T. The Phenomenology Reader, New York: Routlrdge. Norberg- Schulz, c. Architeture: Presence, Language, Place, Milan: Akira. - Rashidian, Abdolkarim. Husserls in context of his works, 2nd Edition, Tehran: Ney Publishers. - Sepehri, Sohrab. Eight Books. 36th Edition, Tehran: Tahoori Publishers. - Shafiei Kadkani, Mohammad Reza. Imagery in Persian Poetry, 9th Edition, Tehran: Negah Publishers. - Shamlou, Ahmad. Anthology of Works, First Book: Poems, 4th Edition, Tehran: Negah Publishers. (shrink)

In this paper, I explore my journey of discovering the meaning of pedagogy and phenomenology as a research methodology while doing my master’s thesis. Like new researchers in any field, we have a journey that we travel which is often marked with uncertainty and a lack of clarity, especially with regard to methodological considerations. I describe what seeing pedagogy entails for me as I write phenomenologically. I also outline the difficulties and tensions present as I weave my way into writing. (...) I use personal examples of struggles that I encountered in the writing process that are characteristic of phenomenological methodology. (shrink)

In this paper the author explores certain fulfilling personal experiences that he describes as the presencing of space, i.e. the way in which an individual’s spatial involvement may put him or her in contact with reality as a whole. These experiences are investigated from a phenomenological perspective, and the differences between them and other similar experiences, such as that of the sublime or topophilia, are highlighted. A neologism is introduced: topoaletheia to name a distinctive type of spatial experience. This concept (...) may enrich the discussion about our involvement with space in our built environments. (shrink)

This article focuses on Pola Negri, one of the most iconic stars of the silent era, and concentrates on her performance and image in the Hollywood film Hotel Imperial. Asses...

The pragmatic semiotic theory of Charles Sanders Peirce has a lot of practical benefits for enhancing visual communication in illustrations. His triadic theory of Semiosis focuses on the dynamic interrelationships between the concept to be communicated, how it is represented through a semiotic sign, and how this affects the success of how the concept is eventually interpreted. Peirce's pragmatic semiotic theory uses complex language, and although Peirce is embraced in some design disciplines, the language that defines Semiosis is problematic beyond (...) academia. This paper is an attempt to address this by providing illustrators with a basic introduction to how Semiosis can help to enhance the success of the visual communication in their illustrations. This is done by translating Peircean terminology into illustrator-centric language and providing an example of how the Semiosis is implemented in an illustration. Within the limits of a short paper, illustrators can begin to understand how the triadic nature of concept/representation/interpretation can benefit them during their ideation and sketching phase to author effective images. In doing this, this paper will mostly discuss iconic, indexical, and symbolic semiotic representation within pragmatic semiotic signs of the intended concept to be communicated in an illustration. This paper's aim is to enact a pragmatic turn in illustrators, in which Semiosis theory becomes more integrated within their practical work, by providing a more illustrator-centric dissemination of Peirce's semiotic theory. (shrink)