This paper approaches Husserl’s analysis of time-consciousness from a mereological perspective. Taking as inspiration Bergson’s idea that pure durée is a multiplicity of interpenetration, I will show, from within Husserlian phenomenology, that the absolute flow can indeed be described as a whole of interpenetrating parts. This mereological perspective will inform my re-consideration of the much-discussed issue of Husserl’s self-criticism concerning the schema of content and apprehension. It will also reveal a fundamental similarity between Husserl’s conception of the absolute flow and (...) Sartre’s conception of lived temporality. This paper consists of four sections. Section 2 presents the basic elements of Husserl’s mereology. Section 3 introduces the difficulty encountered by Husserl’s early account of time that makes use of the schema. I will examine Barry Dainton’s criticism of Husserl’s theory of time-consciousness against the background of the older debate between Meinong and Stern, a debate that has informed Husserl’s own account. Section 4 distinguishes two common criticisms of the schema from Husserl’s own self-criticism, which is in turn divided into two steps. It is shown how the second step of this self-criticism implies the interpenetration of the absolute flow and responds to Dainton’s criticism. Finally, Sect. 5 concludes with some comparative remarks. I will show how Husserl’s notion of absolute flow, as mereologically interpreted, anticipates Sartre’s conception of consciousness as self-transcendence, as well as how it accommodates the apparently conflicting mereological intuitions of Aristotle and Bergson. (shrink)

This paper explores the nature of ourexperiences of values– ourvalueceptions. In the recent literature, two main standpoints have emerged. On the one hand, the ‘Meinongian’ side claims that axiological properties are experienced exclusively in emotions. On the other hand, the ‘Hildebrandian’ side contends that since valueceptions can be ‘cold’, they are not accomplished in emotions but rather reside in ‘value-feelings’ – emotions, in this framework, being conceived of asreactionsto the values thus revealed. The aim of the paper is to argue (...) that theHusserlianphenomenology of affectivity, especially as it is developed during his Göttingen period, can help to overcome these two accounts. I start by pointing out that, contrary to what most scholars have assumed so far, Husserl’s theory of valueception is not tantamount to Meinong’s, as it is very sensitive to ‘Hildebrandian’ arguments (Part 2). The core of the paper is then devoted to a systematic reconstruction of Husserl’s solution to this controversy. Drawing on the analogy between thing-perceptions and value-perceptions (Part 3), I show, first, that ‘cold’ valueceptions are to be identified with empty apprehensions (Auffassungen) of value, in which an emotion is notactually experiencedbut isanticipatedin such-and-such kinaesthetic circumstances (Part 4); second, that the realization of this anticipation amounts to thefulfillmentof the valueception (Part 5). As a result, Husserl acknowledges the relevance of ‘value-feelings’, yet his account appears more satisfactory than traditional ‘Hildebrandian’ theories in that it demystifies these ‘value-feelings’ by reducing them topotential emotions. (shrink)

European Journal of Philosophy, Volume 30, Issue 2, Page 755-777, June 2022.

One key difference between perceptual experience and thought is the distinctly sensory way perception presents things to us. Some philosophers nevertheless suggest this sensory phenomenal character does not exhaust the way things are made manifest to us in perceptual experience. Edmund Husserl maintains that there is also a significant non‐sensory side to perception's phenomenal character. We may experience, for instance, an object's facing surface in a sensory mode and, as part of the same perceptual experience, also that object's out‐of‐view surface (...) in a non‐sensory mode. To the extent that perceptual experience makes things available to us in a non‐sensory mode, Husserl calls it inadequate. Here, I reconstruct four arguments for the conclusion that perceptual experience is inadequately found in various of Husserl's writings and critically evaluated them. My aim is both to showcase the variety and sophistication of Husserl's reasons for thinking perceptual experience is inadequate and to problematize that idea. (shrink)

As Dieter Lohmar (Citation2002; Citation2012) has shown, in the Logical Investigation Husserl sketches a peculiar type of reduction, the so-called “Reduktion auf den reellen Bestand.” Husserl does not explicitly put this kind of reduction forward, though, and he does definitely not clarify how it works, and what its elements properly are. Lohmar proposes to understand it as a kind of empiricist reduction to mere sense-data. On the contrary, I believe that it should be considered as entailing also the apprehensional forms (...) of sense-data, though not the so-called apprehensional senses. In this article, I will offer some arguments and textual evidence in favour of this claim, and I will conclude by proposing that, despite Husserl’s unclarity on the issue, the reduction to the real components of experience, rather than being simply an ancestor of the transcendental-phenomenological reduction, should be seen as the regulative model of all later forms of reduction. (shrink)

The Politics of Orientation provides the first substantial exploration of a surprising theoretical kinship and its rich political implications, between Gilles Deleuze's philosophy and the sociological systems theory of Niklas Luhmann. Through their shared theories of sense, Hannah Richter draws out how the works of Luhmann and Deleuze complement each other in creating worlds where chaos is the norm and order the unlikely and yet remarkably stable exception. From the encounter between Deleuze and Luhmann, Richter develops a novel take on (...) postfoundational ontology where subjects and societies unfold in self-productive relations of sense against a background of complexity. The Politics of Orientation breaks and rebuilds theoretical alliances by reading core concepts and thinkers of Continental Philosophy, from Leibniz to Whitehead and Marx, through this encounter. Most importantly, the book puts Luhmann and Deleuze to work to offer urgently needed insight into the rise of post-truth populism. In our complex democratic societies, Richter argues, orientation against complexity has become the ground of political power, privileging the simplistic narratives of the populist right. (shrink)

Whether Husserl is a conceptualist has been heatedly debated among contemporary Husserl scholars. The present article intends to join the debate by asking the question of how, in the Husserlian context, intuitive acts fulfill signitive ones. On the one hand, those who take Husserl to be a conceptualist hold the content-identity theory, arguing that intuitive act and signitive act have the same content, so that the former can fulfill the latter. On the other hand, the non-conceptualists defend the object-identity theory (...) and claim that it is the identity of object of intuitive and signitive act that makes fulfillment possible. On the basis of a careful reading of the sixth investigation of Husserl’s Logical Investigations, the article proposes a dynamic content-identity theory, in which the identity of content does not mean that intuitive act and signitive act have the identical content accidentally, but rather, in the dynamic fulfillment process, the intuitive act obtains the content that overflows into it from the signitive act, so that the two acts have the identical content. And this article shows how the dynamic content-identity theory places Husserl in the conceptualist camp while avoiding certain difficulties of either plain content-identity theory or object-identity theory. (shrink)

This paper shows that Husserl is not guilty of Sellars’ myth of the sensory given. I firstly show that Husserl’s account of ‘sensations’ or ‘sense data’ seems to possess some of the attributes Sellars’ myth critiques. In response I show that, just as Sellars thinks that our ‘conceptual capacities’ afford us an awareness of a logical perceptual space that has a propositional structure, Husserl thinks that ‘acts of apprehension’ structure sensations to afford us perception that is similarly propositionally structured. Not (...) only this, but there is much affinity and shared motivation between Husserl and Sellars accounts of the sensory stratum. Reflection on phenomenological considerations prevents Sellars from denying phenomenal non-conceptual content, whilst Husserlian ‘sense data’ are technical designations; dependant parts of perceptual experience grasped in abstraction, necessary for providing a reflective/philosophical account of empirical knowledge. I show that both Husserl and Sellars assert that the proper description of phenomenal content affords it the function of presenting properties of spatial objects during perception, and reiterate the well-known fact that Husserl thinks that perception is of ‘conceptually’ apprehended spatiotemporal objects. (shrink)

In the Logical Investigations, Ideas I and many other texts, Husserl maintains that perceptual consciousness involves the intentional “animation” or interpretation of sensory data or hyle, e.g., “color-data,” “tone-data,” and algedonic data. These data are not intrinsically representational nor are they normally themselves objects of representation, though we can attend to them in reflection. These data are “immanent” in consciousness; they survive the phenomenological reduction. They partly ground the intuitive or “in-the-flesh” aspect of perception, and they have a determinacy of (...) character that we do not create but can only discover. This determinate, non-representational stratum of perceptual consciousness also serves as a bridge between consciousness and the world beyond it. I articulate and defend this conception of perceptual consciousness. I locate the view in the space of contemporary positions on phenomenal character and argue for its superiority. I close by briefly arguing that the Husserlian account is perfectly compatible with physicalism (this involves disarming the Grain Problem). (shrink)

In the final book of Logical Investigations from 1901, Husserl develops a theory of knowledge based on the intentional structure of consciousness. While there is some textual evidence that Husserl considered this to entail a critique of Kantian philosophy, he did not elaborate substantially on this. This paper reconstructs the covert critique of Kant’s theory of knowledge which LI contains. With respect to Kant, I discuss three core aspects of his theory of knowledge which, as Husserl’s reflections on Kant indicate, (...) Husserl was familiar with. These are the cooperation of two faculties for the justification of beliefs; the concept of a priori structures of knowledge Kant operated with; and the delivered transcendental proof of these structures. Regarding Logical Investigations, I first briefly outline the intentional structure of consciousness as presented in the fifth book and then turn to the theory of knowledge in the sixth book. I then clarify, partially on the basis of manuscripts and lecture notes, the covert critique of the three core aspects of Kant’s theory which the sixth book contains. (shrink)

The hyletic component of kinaesthetic sensation has generally been treated with suspicion. It is usually set aside in favour of Husserl’s later analysis of kinaesthetic experience which emphasizes its practical dimension. I try to show that a nuanced understanding of the hyletic component allows us to consider its deeper temporal function. From a rather neglected passage in his Ding und Raum I show that Husserl was aware of the temporal peculiarity of kinaesthetic sensation: it is characterized by a unique kind (...) of “sameness”. I then try to explain how the hyletic dimension of kinaesthetic sensation is responsible for this peculiarity. By escaping the contingencies of protentional fulfilment kinaesthetic hyle merely unifies in an actual “belonging-together” our sensing of position and the motivation of the correlative appearances. It is on this basis that it fundamentally shapes at a passive-hyletic level the complex temporal dynamic of the practical dimension of kinaesthetic experience. (shrink)

According to contemporary representationalism, phenomenal qualia—of specifically sensory experiences—supervene on representational content. Most arguments for representationalism share a common, phenomenological premise: the so-called “transparency thesis.” According to the transparency thesis, it is difficult—if not impossible—to distinguish the quality or character of experiencing an object from the perceived properties of that object. In this paper, I show that Husserl would react negatively to the transparency thesis; and, consequently, that Husserl would be opposed to at least two versions of contemporary representationalism. First, (...) I show that Husserl would be opposed to strong representationalism, since he believes the cognitive content of a perceptual episode can vary despite constancy of sensory qualia. Second, I then show that Husserl would be opposed to weak representationalism, since he believes that sensory qualia—specifically, the sort that he calls “kinesthetic sensations”—can vary despite constancy in representational content. (shrink)

Intentionality (‘directedness’, ‘aboutness’) is both a central topic in contemporary philosophy of mind, phenomenology and the cognitive sciences, and one of the themes with which both analytic and Continental philosophers have separately engaged starting from Brentano and Edmund Husserl’s ground-breaking Logical Investigations (1901) through Roderick M. Chisholm, Daniel C. Dennett’s The Intentional Stance, John Searle’s Intentionality, to the recent work of Tim Crane, Robert Brandom, Shaun Gallagher and Dan Zahavi, among many others. In this paper, I shall review recent discussions (...) of intentionality, including some recent explorations of the history of the concept (paying particular attention to Anselm), and suggest some ways the phenomenological approach of Husserl and Heidegger can still offer insights for contemporary philosophy of mind and consciousness. (shrink)

There are three interconnected goals of this paper. The first is to articulate and motivate a view of the methodology for doing metaphysics that is broadly phenomenological in the sense of Husserl circa the Logical Investigations. The second is to articulate an argument for the importance of studying the history of philosophy when doing metaphysics that is in accordance with this methodology. The third is to confront this methodology with a series of objections and determine how well it fares in (...) light of them. (shrink)

Abstract: In philosophy, perceptual constancy refers to the puzzling phenomenon of the perception of properties of objects despite our changing experience of those properties. Husserl developed a sophisticated description of perceptual constancy. In this paper I sketch Husserl's approach, which focuses on the suggestion that perception is partly constituted by the continuous interplay of intention and fulfilment. Unlike many contemporary theories, this framework gives us a way to understand the relationship between different appearances of the same object. I will show (...) how Husserl's work connects with contemporary theories which emphasize perceptual constancy from particular perspectives. These theories include appeals to perspectival properties and Cohen's counterfactual theory. Also, I show how Husserl's account shares important themes with Kelly's recent interpretation of Merleau-Ponty on perceptual constancy. (shrink)

“Apprehension” is a key term in Husserl’s phenomenology of perceptual consciousness. However, its modes of operation have not yet been closely analyzed. Apprehension has its own principles and foundations. According to Husserl, the principles of apprehension are 1) contiguity, 2) equality and 3) similarity, and each of them expresses a specific kind of qualitative connection between the apprehension-content and the apprehension-sense. When a content presents a sense through equality or similarity, this sense can be regarded as a “projection” from the (...) apprehension-content. Besides the principles, the working of perceptual apprehension as knowing is based on two foundations. The first foundation is a space of sense, in which a perceptual sense finds its place and is combined holistically with other senses. The second foundation is a concrete cultural and historical lifeworld, upon which the space of sense constructed. Similar ideas can also be found at work in Sellars and Searle. (shrink)

ABSTRACTMerleau-Ponty’s Phenomenology of Perception begins with a critique of the philosophical notion of sensation. Even though it is often generally said to be aimed at traditional psychology or empiricism, Merleau-Ponty’s critique is without question also applicable to Husserl’s notion of sensation. The first half of this paper will offer an interpretation of Husserl’s conception of sensation as the stuff of perception and the pregivennesses for all of the Ego’s operations. And then it will attempt to show how Merleau-Ponty’s critique in (...) the Phenomenology of Perception can precisely be viewed as aiming at Husserl. In the end, we should be able to see that Merleau-Ponty’s critique is still relevant today, especially in regard to some recent attempts to put Husserl into the camp of non-representationalism in contemporary philosophy of mind. (shrink)

In this paper, I propose a Husserlian account of perceptual confidence, and argue for perceptual confidence by appeal to the self-justification of perceptual experiences. Perceptual confidence is the intriguing view, recently developed by John Morrison, that there are not just doxastic confidences but also perceptual confidences, i.e., confidences as aspect of perceptual experience, enabling us to account, e.g., for the increasing confidence with which we experience an approaching human figure, while telling ourselves, as the viewing distance diminishes, “It looks like (...) this just could be Isaac”, “It looks like this is probably Isaac”, “It looks like this is almost certainly Isaac”. I first present my Husserlian account with a focus on the notion of fulfillment, and the idea that the contents of perceptual experience are fulfillment conditions. I then show that this account can be complemented by PC. Finally, I develop a focus on the idea of perceptual self-justification, diverting the perceptual confidence debate from its pre-eminent concern with the relations between perceptual and doxastic confidences, and present an argument to the effect that there are perceptual confidences. (shrink)

An act’s form of apprehension determines whether it is a perception, an imagination, or a signitive act. It must be distinguished from the act’s quality, which determines whether the act is, for instance, assertoric, merely entertaining, wishing, or doubting. The notion of form of apprehension is explained by recourse to the so-called content-apprehension model ; it is characteristic of the Logical Investigations that in it all objectifying acts are analyzed in terms of that model. The distinction between intuitive and signitive (...) acts is made, and the notion of saturation is described, by recourse to the notion of form of apprehension. (shrink)

The Introduction to Sartre’s Being and Nothingness (B&N) contains a condensed, cryptic argument – the ‘ontological proof’ – that is meant to establish a position ‘beyond realism and idealism’. Despite its role in establishing the fundamental ontological distinction of B&N – the distinction between being-for-itself and being-in-itself – the ontological proof has received very little scholarly attention. My goal is to fill this lacuna. I begin by clarifying the idealist position Sartre attacks in the Introduction to B&N: Husserl’s idealism as (...) interpreted by Aron Gurwitsch and Roman Ingarden. I then propose a new interpretation of the ontological proof that gives a central role to the transparency of experience. On this interpretation, Sartre argues from the ‘emptiness’ of consciousness – its purely relational nature – to the existence of mind-independent substance (being-in-itself). In assessing the strengths and weaknesses of Sartre’s case against idealism, I put him in critical dialogue with contemporary work in metaphysics and the philosophy of mind. (shrink)

A recent trend in Husserl scholarship takes the Logische Untersuchungen (LU) as advancing an inconsistent and confused view of the non-conceptual content of perceptual experience. Against this, I argue that there is no inconsistency about non-conceptualism in LU. Rather, LU presents a hybrid view of the conceptual nature of perceptual experience, which can easily be misread as inconsistent, since it combines a conceptualist view of perceptual content (or matter) with a non-conceptualist view of perceptual acts. I show how this hybrid (...) view is operative in Husserl’s analyses of essentially occasional expressions and categorial intuition. And I argue that it can also be deployed in relation to Husserl’s analysis of the constitution of perceptual fullness, which allows it to avoid a objection raised by Walter Hopp—that the combination of Husserl’s analysis of perceptual fullness with conceptualism about perceptual content generates a vicious regress. (shrink)

How does attention contribute to perceptual experience? Within cognitive science, attention is known to contribute to the organization of sensory features into perceptual objects, or “object-based organization.” The current paper tackles a different type of organization and thus suggests a different role for attention in conscious perception. Within every perceptual experience we find that more subjectively interesting percepts stand out in the foreground, whereas less subjectively interesting percepts are relegated to the background. The sight of a sycamore often gains the (...) visual foreground for a nature lover, whereas the sound of a violin often gains the auditory foreground for a music lover, but not necessarily vice versa. How does the perceptual system organize early sensory processing according to the subject’s interests? The current paper reveals how this subject-based organization is brought about and maintained through top-down attention. In fact, the current paper argues that top-down attention is necessary for conscious perception in so far as it is necessary for bringing about and maintaining the subject-based organization of perceptual experience. (shrink)

In this paper, I argue for phenomenology, Husserlian phenomenology to be precise, as providing a solid paradigm on how to determine and assess hallucination. To be more explicit, in the context of my deliberations, I analyze Susanna Schellenberg’s arguments for “phenomenal” evidence and “factive” evidence, as regards her evidential theory of perception. To pinpoint the inadequacies raised in her account of (the hallucinating) Hallie and (the veridically perceiving) Percy sharing any kind of evidence, I propose Edmund Husserl’s epistemic fulfillment as (...) a detailed epistemological analysis of perception, which takes into consideration the latter’s phenomenological complexity. (shrink)

In his genetic phenomenology, Husserl introduces types, pre-predicative frames of experience that guide the perception and cognition of objects. In this essay, I argue that there are two types that are functionally almost identical to Kant’s schemata. To support this conclusion, I first present an interpretation of Kant’s discussion of schemata. I argue that we must see schemata as pure, a priori cognitions that involve only pure intuition, pure concepts of the understanding, and the imagination. I offer two analogies to (...) explain how schemata function to subsume objects under concepts and to anticipate possible objects of experience before moving on to discuss the schema of substance. Next, I present a brief explanation of Husserl’s genetic phenomenology, organizing my presentation around the idea of apperception. This paves the way for a demonstration of how the fundamental type is best understood as standing at the center of a cluster of concepts, including apperception, passive belief, natural bodies, and the one spatio-temporal horizon of experience. I argue that the fundamental type is central to Husserl’s attempt to ground logic in pre-predicative experience. Finally, I compare two specific types with schemata on the grounds cultivated in the previous sections. The first of these types, the fundamental type, functions to pre-predicatively anticipate objects of possible experience, just as schemata do. The second of these types, which is implied by but never discussed in Husserl’s work, serves to mediate between a formal system of rules and an intuitive grasp of the world, just as schemata do. (shrink)

This essay delves into the essentialities of object-giving sources within the formulation of epistemic objectivity. It explores the relationship between objectivity and intentional states, particularly in the context of immediate and transcendent experiences. A key focus of this paradigm is the examination of inferences and how they are held in X’s intentional processes. These claims about inferences contribute to the perception of objectivity by highlighting the epistemological transitions of things that occur in the constitutive ideation. Additionally, the activity within X’s (...) episteme leads to significant articulations that reflect a structural realism of experiences. The essay also introduces a convention of the experiential-intentional process so that the causality manipulations could be avoided by the precents of sources of ideation. In this instance, the central niche is occupied by transcendental reflections of intentionality, which are fundamentally founded on experiences and objectivity, and they possess a distinct rhetorical quality. They manifest as acts, propositional forms, and constituents, all of which contribute to the understanding and justification of objectivity. To establish such a framework that upholds objectivity, certain prerequisites must be met. Firstly, the framework must possess justificational resources that prevent causality manipulations. Secondly, pre-reflective sources should not inter-define causality in epistemic circumstances, although this does not exclude the emergence of causal relations, and thus this approach offers a correlational explanation. Lastly, transcendental reflections should remain compatible with the experiential-intentional process, allowing for the accommodation of subjectivity in the justification of objectivity. (shrink)

The central theme of my dissertation is Husserl’s phenomenological analysis of how we experience images. The aim of my dissertation is twofold: 1) to offer a contribution to the understanding of Husserl’s theory of image consciousness, aesthetic consciousness and art, and 2) to find out whether Husserl’s theory of the experience of images is applicable to modern and contemporary art, particularly to strongly site-specific art, unaided ready-mades, and contemporary films and theatre plays in which actors play themselves. Husserl’s commentators and (...) followers interested in his theory of the experience of images have mostly focused on the concept of “phantasy” [Phantasie] or “imagination.” Accordingly, the main interest is in the notion of the “image object” [Bildobjekt] and in the question of how something absent can appear in an image. In my dissertation, the central concept is “image consciousness” [Bildbewusstsein] which is a unique kind of experience: it involves both perception and imaging. I want to show that Husserl’s early theory of depictive image consciousness and his later theory of the experience of images can both be subsumed under the term “image consciousness”. I want to point out that Husserl’s revision of his earlier theory of image consciousness results in the distinction between depictive and non-depictive image consciousness, and that revision did not amount to an abandoning of the theory of “image consciousness.” In addition, Husserl divides depictive consciousness into positing and non-positing depictive consciousness. In my dissertation, I take the theory of image consciousness as the basis for explaining the experience of images, including the experience of visual works of art. In Husserl’s definition of art: “Without an image, there is no fine art”. The theory of image consciousness also plays an important role in explaining aesthetic consciousness since the focus is on “the How of the image object’s depicting”. My aim is to accentuate the subject in image consciousness, rather than the image object. I want to show that whether the subject is involved in image consciousness or not makes the difference if we have a two-fold or three-fold experience of seeing-in. In this way, I can also compare Husserl and Wollheim’s theories of seeing-in: a comparison that has received minimal attention in the literature of pictorial experience until now. In addition, I aim to show that according to Husserl’s theory, the image subject is involved only in depictive image consciousness. Moreover, I try to show that it is more difficult to define the image subject than the image object for the subject cannot be equated with the referent. Lastly, I will point out that Husserl mentions the possibility that it is the appearance of the subject rather than the image object appearance that we are focused on in aesthetic consciousness. Another topic that has received minimal attention until now is Husserl’s idea that depiction is involved in the experience of theatrical performance. The latter is primarily used by Husserl as an example of non-depictive image consciousness. I will examine how depiction can be involved in the experience of a theatre play in the case of actors playing themselves onstage. I will show that, in light of this example, either Husserl’s theory of depiction need to be revised or we cannot say that depiction is involved when an actor plays a real life person. Again, the key issue is how the subject appears. Thus, I will try to apply Husserl’s theory of depiction in explaining our experience of theatrical performances. I will also try to use his theory of aesthetic consciousness in describing the experience of strongly site-specific art and point out what the difficulties are of using the idea of the limited synthetic unity of the aesthetic object in the case of strongly site-specific art which seems to have no prescribed margins that could correspond to the limitedness. In addition, I will show how Husserl’s phenomenology, especially the notion of horizon, can be used to define visual art. I will defend the view that an object of art can be defined as art through an external co-determining horizon – the artworld. My dissertation is divided into four parts. In the first part, I give an overview of the development of Husserl’s philosophy from the period 1989 – 1920s with a special focus on the development of the theory of image consciousness. In that part, I introduce the notions of depictive and non-depictive image consciousness. In the second part, special focus is on the depictive image consciousness or the theory of depiction. I will first explain the phenomenological approach to the experience of images and what the difference and similarities are between Husserl and Wollheim’s theory of seeing-in. Then I give more detailed description of the three objects or objectivities in image consciousness with the emphases on the image subject. Also, how the objects are related to each other: the necessary conflicts and a resemblance in image consciousness. Lastly, I will analyse Husserl’s claim that depiction might be involved in the experience of theatrical performances and I will show what the difficulties are of applying this idea in the case of a theatre play in which actors play themselves. In the third part, I examine Husserl’s theory of aesthetic consciousness. I will first point out how the notion of “aesthetic object” is equated with that of “work of art” by Husserl. Then I will show the similarities between the aesthetic attitude and phenomenological attitude in general, and how aesthetic consciousness differs from image consciousness according to Husserl. In this vein, I will point out the difficulty of defining whether, following Husserl’s texts, we are directed to image object appearance or the appearance of the image subject in aesthetic consciousness. Lastly, I will analyse Husserl’s idea of the limited synthetic unity of the aesthetic object and whether this theory holds in the case of the experience of strongly site-specific art. In the fourth part, I will give an overview of Husserl’s notes on art and his attempt to define art. The question whether every visual work of art must be an image is also addressed. The fourth part is divided into two sections. Firstly, I will show how some of Husserl’s commentators analyse artworks as analogues to or illustrations for Husserl’s phenomenology: how some works of art are doing phenomenology. Secondly, how Husserl’s phenomenology can be used to analyse our experience of artworks. In this section, I will examine Husserl’s claim that all works of visual art are images. Also, I will show how Husserl’s notion of the external co-determining horizon can be used to define art. Some material used in my dissertation has been published in the following journals: Proceedings of the European Society for Aesthetics, South African Journal of Philosophy, 2013), Kunstiteaduslikke Uurimusi, 2014), Postgraduate Journal of Aesthetics Spring 2014). (shrink)