I argue that there are no irrational visual experiences, if we mean just the experiences that one is having now, but there are irrational visual experiences, if we mean also the experiences that one has had in the past. In other words, I will be arguing that perceptual irrationality is a retrospective phenomenon. So as to further support the first conjunct of my thesis, and to contextualize it among contemporary discussions, I also critique Susanna Siegel’s proposal that one could be (...) having an irrational experience, in the sense of a hijacked experience that has inherited a sub-threshold epistemic charge from a corrupt outlook. The present discussion is conducted from a Husserlian point of view, according to which perception is rational, rather than arational. I am, however, in this paper, not undertaking to defend the Husserlian view or the rationality of perception, or even to argue that the view I refer to as Husserlian is, in all aspects, the view that Edmund Husserl actually held. I aim merely to provide certain clarifications concerning the more specific topic of irrational visual experiences. (shrink)

This paper offers a new philosophical account of vocations as deeply personal but at the same time also communal and generational forms of multimodal intending. It provides a reconstruction and a systematic development of Edmund Husserl’s scattered discussions on vocations. On these grounds, the paper argues that vocational life is a general human possibility and not determined by any set of material values, religious, epistemic or moral. Rather, vocations are distinguished from other complexes of intentional acts and attitudes by certain (...) structural features of their core valuations and volitions. (shrink)

In a discussion of the constitutive role of colour in our visual perceptual experiences, Wilhelm Schapp centrally argues that we cannot visually perceive certain distant things, like a house seen far down in the valley. My main contention is that, in cases relevantly similar to Schapp’s, we do perceptually experience distant things, viz., as drastically “decayed” things, which are part of distant scenes. In doing so, we adopt towards them a kind of conservative “attitude.” The ideas of decay and scenicness (...) will be unpacked in terms of the Husserlian ideas of fulfilment, and fulfilment conditions, capturing the idea that we perceptually experience objects in terms of anticipated possibilities for further experiences of these objects. These ideas will also be considered in relation to Herbert Leyendecker’s notion of an attitude, e.g., of observing, searching for, or working with objects. (shrink)

This article examines the philosophical role of illness. It briefly surveys the philosophical role accorded to illness in the history of philosophy and explains why illness merits such a role. It suggests that illness modifies, and thus sheds light on, normal experience, revealing its ordinary and therefore overlooked structure. Illness also provides an opportunity for reflection by performing a kind of suspension (epoché) of previously held beliefs, including tacit beliefs. The article argues that these characteristics warrant a philosophical role for (...) illness. While the performance of most philosophical procedures is volitional and theoretical, however, illness is uninvited and threatening, throwing the ill person into anxiety and uncertainty. As such it can be viewed as a radical philosophical motivation that can profoundly alter our outlook. The article suggests that illness can change the ways in which we philosophise: it may shape philosophical methods and concerns and change one's sense of salience and conception of philosophy. (shrink)

A distinctive feature of Merleau-Ponty’s thought is the central role he assigns style in generally characterizing embodied agents’ perceptual and cognitive functioning. Despite this, he says little to explain how he conceives style itself. This article therefore aims to clarify Merleau-Ponty’s notion of style and its significance within and beyond his work. It begins by surveying his broad application of the term and using his discussions of painting to reconstruct his conception of style, identifying two major roles Merleau-Ponty attributes it (...) in unifying intentional structures and founding conceptual meaning. His view is related to several competing philosophical conceptions of style to highlight its distinctiveness and some conceptual difficulties in adequately defining style. I then argue that Merleau-Ponty succeeds in coherently distinguishing style from rules by recognizing that style conceives pattern formation, especially the relation of general and particular, in a way contrasting with the identity-based thinking inherent in the functioning of rules. With this distinction I conclude that, although Merleau-Ponty overgeneralizes its role, his conception of style has broader philosophical significance in accurately capturing the nonmechanical cohesion of certain embodied intelligent activities (such as painting) and enabling better understanding of the variety of forms such activities can take. (shrink)

In this paper, I wish to explore whether and how emotions build on a state of being motivated that is linked to character and requires the positive contribution of habit. Drawing on phenomenological accounts of motivation, I argue that the relation between emotions and character depends on the institution of an emotional space, which is responsible for our sensitivity to the values of the felt situation and yet it is open to changes and revisions.

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)