In this paper, I develop a phenomenological account of social anxiety disorder (SAD) as a disturbance of lived time through an analysis of first-person accounts informed by Minkowski’s notion of disordered temporality. The core psychopathology of the patient, I argue, is a constricted sense of relational time. Instead of the ordinary sense of a taken-for-granted shared future, the patient experiences time as running a predetermined course toward their social death. This manifests itself in a relational life lived as if it (...) might end at any moment or has already done so. Patients describe the end of their current relationships as self-evident and struggle against it by attempting to evade its immediate occurrence and to postpone it into the less eminent future. At times, patients succumb to passivity and self-blame, revelatory of a sense of an entirely lacking relational future. This phenomenological conceptualization provides an alternative to the predominant cognitive-behavioral (CBT) account of SAD. The CBT approach conceptualizes the core disorder as a set of dysfunctional beliefs about other people’s opinion of the patient. The phenomenological account elucidates a part of the subjective background on which these beliefs come to make sense to the patient. Further, with its concept of social death, the phenomenological account captures the existential contexts, which makes the intensity of the patient’s fear of rejection comprehensible. This way of understanding the patient and their psychopathology has important implications for diagnostic and psychotherapeutic practice. (shrink)

The present study examined whether cinematographic editing density affects viewers’ perception of time. As a second aim, based on embodied models that conceive time perception as strictly connected to the movement, we tested the hypothesis that the editing density of moving images also affects viewers’ eye movements and that these later mediate the effect of editing density on viewers’ temporal judgments. Seventy participants watched nine video clips edited by manipulating the number of cuts (slow‐ and fast‐paced editing against a master (...) shot, unedited condition). For each editing density, multiple video clips were created, representing three different kinds of routine actions. The participants’ eye movements were recorded while watching the video, and the participants were asked to report duration judgments and subjective passage of time judgments after watching each clip. The results showed that participants subjectively perceived that time flew more while watching fast‐paced edited videos than slow‐paced or unedited videos; by contrast, concerning duration judgments, participants overestimated the duration of fast‐paced videos compared to the master‐shot videos. Both the slow‐ and the fast‐paced editing generated shorter fixations than the master shot, and the fast‐paced editing led to shorter fixations than the slow‐paced editing. Finally, compared to the unedited condition, editing led to an overestimation of durations through increased eye mobility. These findings suggest that the editing density of moving images by increasing the number of cuts effectively altered viewers’ experience of time and add further evidence to prior research showing that performed eye movement is associated with temporal judgments. (shrink)

This paper describes a method for analyzing a corpus of descriptions collected through micro-phenomenological interviews. This analysis aims at identifying the structure of the singular experiences which have been described, and in particular their diachronic structure, while unfolding generic experiential structures through an iterative approach. After summarizing the principles of the micro-phenomenological interview, and then describing the process of preparation of the verbatim, the article presents on the one hand, the principles and conceptual devices of the analysis method and on (...) the other hand several dimensions of the analysis process: the modes of structural unfolding of generic structures, the mutual guidance of the processes of structural and experiential unfolding, the tracking of analysis processes, and finally the assessment of analysis results. (shrink)