... Let me start my investigation by taking a brief look at the way in which self-awareness is expressed linguistically, as in the sentences "I am tired" or ...

This book presents a detailed analysis of what it means to be absorbed in playing music. Based on interviews with one of the world’s leading classical ensembles, “The Danish String Quartet”, it debunks the myth that experts cannot reflect while performing, but also shows that intense absorption is not something that can be achieved through will, intention, prediction or planning – it remains something individuals have to be receptive to. Based in the phenomenological tradition of Husserl and Merleau-Ponty as well (...) as of Dan Zahavi and Shaun Gallagher, it lays out the conditions and essential structures of musical absorption. Employing the lived experience of the DSQ members, it also engages and challenges core ideas in phenomenology, philosophy of mind, enactivism, expertise studies, musical psychology, flow theory, aesthetics, dream and sleep studies, psychopathology and social ontology, and proposes a method that integrates phenomenology and cognitive science. (shrink)

This paper argues that the Husserlian notion of “passive synthesis” can make a substantial contribution to the understanding of aesthetic experience. The argument is based on two empirical cases of qualitative interview material obtained from museum visitors and a world-renowned string quartet, which show that aesthetic experience contains an irreducible dimension of passive undergoing and surprise. Analyzing this material through the lens of passive syntheses helps explain these experiences, as well as the sense of subject–object fusion that occurs in some (...) of the most intense forms of aesthetic experience. These analyses are then contrasted with a potentially contradicting take on aesthetic experience from a recent trend in cognitive science, namely enactive aesthetics, which insists on the active subjective construction and sense-making of aesthetic experience. Finally we show that the two positions are in fact compatible. (shrink)

The key to understanding self-identity is identifying the transcendental structures that make a temporally extended, continuous, and unified experiential life possible. Self-identity is rooted in the formal, temporalizing structure of intentional experience that underlies psychological continuity. Personal identity, by contrast, is rooted in the content of the particular flow of experience, in particular and primarily, in the convictions adopted passively or actively in reflection by a self-identical subject in the light of her social and traditional inheritances. Secondarily, a person’s identity (...) is rooted in others’ characterizations of that person in the light of the social conventions and constructs of the cultures and traditions that have shaped the personal identity of the ones who make the attributions. Personal identity, on this view, is fundamentally rooted in beliefs, traits—especially character traits—sentiments, and moods, that is, in the subject’s convictions about the true, the good, and the right—and in the commitments to the pursuit of (apparently) worthwhile goods and to the practical identities rooted in those convictions. (shrink)

Exploring the first-person narratives of three figures from the Christian, Jewish, and Islamic mystical traditions—St. Teresa of Avila, Rabbi Dov Baer, and Rzbihn Baql—Anthony J. Steinbock provides a complete phenomenology of mysticism based in the Abrahamic religious traditions. He relates a broad range of religious experiences, or verticality, to philosophical problems of evidence, selfhood, and otherness. From this philosophical description of vertical experience, Steinbock develops a social and cultural critique in terms of idolatry—as pride, secularism, and fundamentalism—and suggests that contemporary (...) understandings of human experience must come from a fuller, more open view of religious experience. (shrink)

First published in France in 1936 as a journal article, The Transcendence of the Ego was one of Jean-Paul Sartre's earliest philosophical publications. When it appeared, Sartre was still largely unknown, working as a school teacher in provincial France and struggling to find a publisher for his most famous fictional work, Nausea . The Transcendence of the Ego is the outcome of Sartre's intense engagement with the philosophy of Edmund Husserl, the founder of phenomenology. Here, as in many subsequent writings, (...) Sartre embraces Husserl's vision of phenomenology as the proper method for philosophy. But he argues that Husserl's conception of the self as an inner entity, 'behind' conscious experience is mistaken and phenomenologically unfounded. The Transcendence of the Ego offers a brilliant diagnosis of where Husserl went wrong, and a radical alternative account of the self as a product of consciousness, situated in the world. This essay introduces many of the themes central to Sartre's major work, Being and Nothingness : the nature of consciousness, the problem of self-knowledge, other minds, anguish. It demonstrates their presence and importance in Sartre's thinking from the very outset of his career. This fresh translation makes this classic work available again to students of Sartre, phenomenology, existentialism, and twentieth century philosophy. It includes a thorough and illuminating introduction by Sarah Richmond, placing Sartre's essay in its philosophical and historical context. (shrink)