This paper presents an account of empathy as the form of experience directed at embodied unities of expressive movement. After outlining the key differences between simulation theory and the phenomenological approach to empathy, the paper argues that while the phenomenological approach is closer to respecting a necessary constitutional asymmetry between first-personal and second-personal senses of embodiment, it still presupposes a general concept of embodiment that ends up being problematic. A different account is proposed that is neutral on the explanatory role (...) of the first-person sense of embodiment, which leads to an emphasis on the transformative nature of empathy and a broadening of the scope of possible targets of empathic awareness. (shrink)

In the vast landscape of Edmund Husserl’s investigations, the theme of attention has long been neglected: the dispersal of his treatment of the topic across works from various years, the use of a diversified lexicon, and an intrinsic difficulty in identifying the attentional phenomenon itself have all contributed to the long-standing underestimation of this theme. Following a line of study that – especially after the publication of volume XXXVIII of the Husserliana (Wahrnehmung und Aufmerksamkeit) – has renewed interest in this (...) topic, this article aims to contribute to the historical as well as theoretical reconstruction of Edmund Husserl’s phenomenology of attention. In particular, we will focus on the contribution of a figure who had a crucial impact on Husserl’s development and the framing of the phenomenological method itself, namely Carl Stumpf, concentrating especially on the engagement that the father of phenomenology had with him, starting from the treatment of attention through the concept of interest. This debate will be reconstructed from the examination of (1) part of the Göttingen Lectures of 1904-05, explicitly dedicated to attention; (2) a very early but theoretically significant Husserlian manuscript, “Noten zur Lehre von Aufmerksamkeit und Interesse” (1893); and (3) Stumpf’s own work, particularly Tonpsychologie, where the interpretation of attention as “Lust am Bemerken” is formulated and with which Husserl engages in a rigorous critical dialogue. On the basis of this confrontation, we will highlight from an original perspective Husserl’s significant debt to the psychology of the time, from which he not only borrowed certain themes and a general interest in the simplest levels of experience, but also the basic outlines of notions that would serve as the foundation for the development of some crucial concepts of transcendental phenomenology such as that of intentionality. Moreover, it is through the examination of attention that the profound continuity of Husserl’s reflection becomes apparent, evidenced by the extraordinarily early emergence of crucial and typical notions of his later phase (known as “genetic phenomenology”) during these formative years, even before the phenomenological method was fully developed. (shrink)

Ever since the 1960s, media and communication studies have abounded in heated debates concerning the psychological and social effects of fictional media violence. Massive empirical research has first tried to tie film violence to cultivating either fear or aggressive tendencies among its viewership, while later research has focused on other media as well (television, video games). The present paper does not aim to settle the factual question of whether or not medial experiences indeed engender real emotional dispositions. Instead, it brings (...) into play the resources of genetic phenomenology in order to ask how the formation of such dispositions would be generally possible. Thus, it aims to further the discussion by overtly employing the framework of Husserl’s later genetic phenomenology to the field of emotional experience. By posing questions with regard to how fictional emotional experiences contribute to the formation of apperceptions and to the specificities of emotional sedimentation, it also points out some shortcomings in Husserl’s account by drawing from Freud’s dynamic theory of drives and emotions. (shrink)

: This paper aims to situate the roles of attention and habit in contemporary approaches to embodied cognition with particular regard to the conceptualisation of affordances. While Chemero has argued that affordances have a relational character that rules out dispositions, Rietveld and Kiverstein have suggested that engaging with affordances amounts to exercising skills. By critically reconsidering the distinction between dispositions and abilities proposed by Chemero, as well as the standard theory of habit that underpins accounts of skilful coping, I propose (...) to disambiguate habit from skill and to reassess the phenomenology of dispositions. Dispositions are motivational factors that depend on two elements: sensitivity to context clues, which is regulated by habit and attention, and the positionality of the subject, which is inseparable from context-awareness. Drawing on Husserl’s and Merleau-Ponty’s insights, I argue that both and can accommodate a dispositional view of affordances. Keywords: Habit; Attention; Affordances; Dispositions; Phenomenology; Embodied Cognition Situare attenzione e abitudine nel panorama delle affordance Riassunto: L’articolo mira a situare i ruoli svolti dall’attenzione e dall’abitudine negli approcci contemporanei all’ embodied cognition, con particolare attenzione alla concettualizzazione delle affordance. Se, un da un lato, Chemero ha sostenuto che l’ affordance ha un carattere relazionale, che esclude le disposizioni, Rietveld e Kiverstein, dall’altro lato, mantengono che il coinvolgimento nell’ affordance corrisponde all’esercizio di abilità pratiche. Nel riconsiderare criticamente la distinzione fra disposizioni e abilità avanzata da Chemero, così come la concezione standard dell’abitudine che è alla base delle teorie di skilful coping, propongo di disambiguare l’abitudine dalle abilità e di rivalutare la fenomenologia delle disposizioni. Queste ultime sono elementi motivazionali che dipendono da due fattori: sensibilità verso il contesto, che è governata dall’abitudine e dall’attenzione, e la posizionalità del soggetto, la quale è inseparabile dalla consapevolezza del contesto. Basandosi su Husserl e Merleau-Ponty, l’articolo difende l’ipotesi che sia che possono soddisfare una concezione disposizionale dell’ affordance. Parole chiave: Abitudine; Attenzione; Disposizioni; Fenomenologia; Cognizione incarnata. (shrink)

Phenomenology and experimental psychology have been largely interested in the same thing when it comes to attention. By building on the work of Aron Gurwitsch, especially his ideas of attention and restructuration, this paper attempts to articulate common ground in psychology and phenomenology of attention through discussion of a new way to think about multistability in some phenomena. What psychology views as an attentionality-intentionality phenomenon, phenomenology views as an intentionality-attentionality phenomenon. The proposal is that an awareness of this restructuring of (...) attentionality and intentionality can benefit both approaches to attention. After reviewing Husserl’s position on attentionality and intentionality, this paper examines multistable phenomena, redefines the attentional transformation called restructuring, discusses disciplinary perspectives on attention and gives an example using common ground. (shrink)

Adorno’s intensive criticism of phenomenology is well known, his entire early period during the 1920s and 1930s being marked by various polemical engagements with Husserl. This engagement finds its peak during his work at his second dissertation project in Oxford, a dissertation that was supposed to systematicaly expose the antinomies of phenomenological thinking while particularly focusing on Husserl’s concept of “eidetic intuition” or “intuition of essences”. The present paper will take this criticism as its starting point in focusing on two (...) highly specific aspects of Adorno’s interpretation: the opposition between eidetic intuition and the traditional theories of abstraction and its relationship to genetic phenomenology. In light of this criticism I subsequently show: 1. that, in his later work, Adorno’s understanding of eidetic intuition undergoes a significant revaluation; 2. that he reappropriates key elements of the eidetic method in his own procedure of physiognomic analysis, and 3. that his account of physiognomics is relevant for addressing the aforementioned incongruities of phenomenological eidetics itself. (shrink)

Résumé Cet article aborde la pertinence de l'art vidéo et des techniques filmiques pour la méthode phénoménologique en thématisant comment les scènes au ralenti peuvent être utilisées dans l'analyse des gestes. Inspiré par la théorie de la conscience d'image d'Edmund Husserl, je soutiens que si, pour le chercheur empirique, le ralenti est un moment non analogique qui l'aide à observer le sujet existant, pour le phénoménologue, il dépeint un sujet neutralisé qui sert d'exemple initial. Cette approche révèle en plus une (...) forme spécifique de déception de nos schémas d'anticipation passivement constitués concernant le rythme d'interaction gestuelle. (shrink)

In a late notation from 1932, Husserl emphasizes the fact that a broad concept of “apperception” should also include, alongside his usual examples, the apprehension of objects as bearers of an individual or inter-subjective past, specifically “indicated” with them; thus, he distinguishes between apperceptions “appresenting” a simultaneous content (co-presentations), anticipatory apperceptions pointing to future incidents, and retrospective apperceptions referring to “ad-memorized” ( hinzuerinnert , ad - memoriert ) features and events. The latter sort of apperceptions are involved not only in (...) our apprehension of historical traces and relics, but also in that of causal relations, familiar objects, and cultural objects in general. Following several later notations of Husserl concerning the topic of “apperceptions,” this paper outlines the specific intentional structure of retrospective or evocative apperceptions, analyzing their various possible forms. (shrink)