The paper aims to give a phenomenological account of the way in which the experience of violence is modified in the aesthetic images. The phenomenological framework in which I place my analysis is primarily given by Edmund Husserl’s conception. The investigation starts from the curious fact that violence cannot be aesthetically experienced when it is presented in person, but it can be aesthetically experienced in images. I claim that the reason for this asymmetry lies in the structure of image-consciousness, that (...) is, in the differences between the physical thing, the depicting object and the depicted subject. Given that the image-consciousness presupposes the background of the physical thing, which is constantly and implicitly aimed by the consciousness, it is possible to focus only on the manner in which the depicted violence appears. In this way, we can aesthetically contemplate a violent scene without being disturbed by it. To show this, I bring forth a brief presentation of the a priori structure of (i) image-consciousness and (ii) aesthetic attitude, as they have been theorised by Husserl. After (iii) providing a minimal concept of violence and explaining some of the modifications that violence undergoes in image-consciousness, (iv) I show how violence is modified in aesthetic images. (shrink)

Vilém Flusser’s chiro-phenomenology fills an essential gap in scholarship by expanding and reinterpreting the ontological significance of gestures, focusing on the hand as a crucial site for understanding the embodied nature of human existence. This article explores Flusser’s unique contribution to the phenomenology of the hand, highlighting why his approach is necessary for a fuller understanding of gesture and embodiment. I begin by emphasizing the relevance of the hand in understanding gestures, arguing that phenomenology provides rich resources for this inquiry. (...) Within the phenomenological tradition, two distinct perspectives emerge: Husserl and Merleau-Ponty, who concentrate on the perceptive and kinesthetic dimensions of the hand, and Heidegger and Levinas, who explore its ontological significance, viewing the hand as essential to human existence. I position Flusser within this ontological framework but show how he departs from his predecessors by developing an original manual approach that centers on the ‘gesture of making.’ By analyzing the eleven constitutive moments of this gesture, I demonstrate how Flusser’s chiro-phenomenology views gestures not only as expressive or communicative acts but as fundamental possibilities for human being-in-the-world. His work thus offers a crucial extension of phenomenology’s understanding of the body and action. (shrink)

Our most current experience of violence is not predominantly violence “given in the flesh,” but violence given through the mediation of the image. The phenomenon of real violence is therefore modified through the imagistic experience, involving first of all its emotional, embodied and intersubjective dimensions. How is the emotion constituted in the face of depicted violence, in contrast to the lived experience of real violence? Is the intersubjectivity modified when violence appears pictorially? What specific embodied dimensions are particularly engaged when (...) violence is lived as an image, and not as a real phenomenon? The phenomenon of imagistic violence can also be understood in contrast with the experience of violence lived in phantasy, memory, or dreaming. Also, since each type of image puts into play certain possibilities of depicting violence, making possible various subjective experiences of violence, it crucial to explore how this experience fundamentally depends on the type of image by which the phenomenon of violence is depicted, be it painting, photography, fiction film, documentary or media image. (shrink)

In this paper, I explore the bodily constitution of violence from a phenomenological perspective, contrasting the directly lived experience of violence with imagistic violence. The analysis involves examining one’s own embodiment from the first-person perspective in two distinct situations: as the agent of violence, anchored in one’s own “I can”, and as a passive victim, marked by vulnerability and helplessness. Each situation reveals specific particularities of the other’s adversity. The final section transitions to the imagistic experience of violence, discussing how (...) bodily markers are modified in this context. Using Kubrick’s iconic film A Clockwork Orange as an example, I illustrate the shift in bodily structures and the implications of imagistic violence. (shrink)

In this paper, I analyse Alison Landsberg’s concept of prosthetic memories from a phenomenological perspective. Prosthetic memory, while sharing similarities with both personal and collective memory, is neither exclusively personal nor strictly collective, emerging as a product of new media in mass communication. According to Landsberg, prosthetic memories have four main characteristics: the recaller experiences them as firsthand accounts despite not personally living through the events, these memories often revolve around traumatic events, have a commodified form, and are ethically useful. (...) Using Husserl’s theories on memory consciousness and image consciousness, and contemporary phenomenological research on violence, I provide a phenomenological account for the first three characteristics of prosthetic memory. The key factors contributing to their quasi-personal and quasi-collective nature lie, on the one hand, in the presence of imagistic violence and, on the other hand, in their mass-mediated image character. (shrink)

We aim to contribute to recent situational approaches to the study of interpersonal violence by elaborating the concept of trajectories. Trajectories are communicative processes in which antagonists act upon each other’s bodily and verbal actions to project a direction for the interaction to take, which is then (con) tested in the exchanges that follow. We use the notion of trajectories to gain insight in how participants turn an antagonistic situation into a violent encounter, which we contrast to interactionist and micro-sociological (...) understandings. Using ethnomethodological and conversation analytical tools, we detail the trajectories of three violent encounters, captured on phone camera recordings to answer the question how verbal and bodily exchanges project physical violence. Methodologically, our contribution shows how bodily actions can be studied in visual data. Our cases show how antagonists move the interaction toward violence by creating a metaconflict revolving around the conditions under which the interaction will become a physical confrontation; what we call the contested projection of violence. We conclude that the concept of trajectories offers a useful analytical tool to detail the shifts and turns of the interactive process—notably it’s bodily dimensions— that characterize antagonism and violence. Substantially, our analysis raises questions about conceptualizations of the emotional dynamics (notably the role of dominance) of violence, as proposed by earlier micro-sociological and interactionist work. We therefore suggest that future studies engage with these issues in more detail and in larger datasets. (shrink)

This article seeks to provide a phenomenological inquiry into schizophrenia through which I propose to bring to the fore the mental violence exercised against the self in the case of a psychotic patient. My main aim is to show that a phenomenological analysis of mental illness, interpreted as a disintegration of the ego, can be very fruitful for understanding violence in general because it raises fundamental questions concerning intersubjectivity, intentionality, and self-awareness. In order to accomplish this objective, I will take (...) as my point of departure a case study of mental illness as presented by the analyst Marguerite Sechehaye, and I will explore, first, the phenomenological implications of the disintegration of the ego, and second, the dynamics of the reconstruction of the ego. Third, I will address the question whether mental illness is a form of violence against the self, sketching an answer by interpreting the transition from the disintegration of the ego to its reconstruction as an elevation from a poor phenomenon to a saturated phenomenon. Finally, I will suggest how opening a dialogue between phenomenology and psychoanalysis can contribute to understanding the phenomenon of mental violence. (shrink)