Husserl seldom refers to feelings, and when he does, he mainly focuses on their axiological character, which corresponds to a specific kind of value apprehension. This paper aims to discuss the role of feelings in Husserl from a different angle. For this purpose it makes a detour through Husserl’s early account of attention. In a text from 1898 on attention the aspect of interest, which is said to have a basis in feeling, plays an essential role. Although Husserl argues here (...) that every specific interest is dependent on an objectifying act of perception, he at the same time states that every act of perception necessarily has to be accompanied by an interest of some sort. In the latter sense, the genuine motivational force and necessity of this feeling aspect, namely interest, is emphasized. This ambiguity – or even contradiction – shall be the point of departure for the following considerations. The paper argues that it is possible to interpret the role of feelings in intentionality in a different way, namely not as an effect of current perception but as a cause of further perceptions. This tendency is first indicated in the text from 1898 and elaborated further in Husserl’s genetic approach in Experience and Judgment. In Experience and Judgment Husserl develops a broader notion of interest, defining it as a general perceptual drive. This general drive – so the paper will argue – expresses itself in concrete perception as a specific preference: it discloses or makes manifest what is relevant for an individual subject at a given time. (shrink)

Midwest Studies In Philosophy, Volume 44, Issue 1, Page 239-259, December 2019: -/- When people speak or write of “embodied” in one form or another, as in embodied mind, embodied cognition, embodied language, embodied self, and so on, they implicitly look past if not outright deny the realities of evolution. Animate life evolves on the basis of different morphologies. Animals with differing morphologies establish not merely different niches but different modes of living, which in the most fundamental sense means establishing (...) distinctive repertoires of movement—different ways of doing everyday things. Certain movements within one species’ repertoire may nevertheless coincide with certain movements within the repertoire of other species, as, for instance, the movement known as presenting, which occurs in multiple primate species in two different contexts: as a sexual invitation and as an aggression deterrent. That certain movements can have the same significance across species does not diminish the distinctiveness of any repertoire but attests to the evolutionary heritage of a species, namely its anchorage in morphology, that is, in bodily templates and possible variations of the same, all of which templates and possible variations translate into distinctive movement possibilities and definitive repertoires of movement. (shrink)

El ensayo explora las nociones de “coloración” (o “resplandor”, “luz” o “brillo”) afectiva o emocional, así como la noción de Stimmung (temple anímico o estado de ánimo), tal como son expuestas en los manuscritos que integran el proyecto que Husserl denominó Studien zur Struktur des Bewusstseins, con una mención previa de otros dos textos que preceden a los Studien: las “Notas sobre la doctrina de la atención y el interés” de 1893 o 1894 (en Husserliana XXXVIII) y un pasaje del (...) § 15 b) de la Quinta de las Investigaciones lógicas. La revisión de los Studien destaca una primera noción de coloración como “sensación emocional” (Gefühlsempfindung), luego una segunda noción como una coloración afectiva transeúnte (o trascendente). Después de exponer las “expansiones” o “transferencias” emotivas, la revisión alcanza la noción de temple (Stimmung), la sitúa dentro del esquema de las vivencias afectivas y describe su carácter unitario, su motivación y su peculiar intencionalidad, señalando su relación con la conciencia de fondo y con las llamadas (por Husserl) “corrientes de sentimiento”. Con ello, se ponen las bases para una revisión de la noción de temple o estado de ánimo, revisión que queda pendiente. (shrink)

This article highlights a neglected, if not wholly overlooked, topic in phenomenology, a topic central to Husserl’s writings on animate organism, namely, animation. Though Husserl did not explore animation to the fullest in his descriptions of animate organism, his texts are integral to the task of fathoming animation. The article’s introduction focuses on seminal aspects of animate organisms found within several such texts and elaborates their significance for a phenomenological understanding of animation. The article furthermore highlights Husserl’s pointed recognition of (...) “the problem of movement,” movement being an essential dimension of animation if not definitive of animation itself. Succeeding sections testify to “the problem of movement” and the need to address it. They do so by answering the following basic questions: What indeed is livingly present in the experience of movement, whether our own movement and the movement of other animate beings, or the movement of leaves, clouds, and so on? What distinguishes kinesthetic from kinetic experiences of movement? How are movement and time related? Just what is the problem of movement and how do we address it? In what way is movement pertinent to receptivity and responsivity? Throughout these sections the article encompasses phenomenological analyses, elaborations, and implications of animation. (shrink)