The Phenomenological Film Collective: Introducing a cinematic‐phenomenological research method for social advocacy filmmaking

This paper introduces the vision for the Phenomenological Film Collective ( pfcollective.com ), a research and filmmaking group which utilizes phenomenological research in the service of social advocacy filmmaking. I outline the theoretical and methodological underpinnings of developing a “cinematic‐phenomenological research method” for PFCollective in order to illuminate lived experiences of sociocultural oppression for public viewership via cinematography. The roots of cinematic phenomenology are situated within the theoretical framework of liberation psychology, which calls on psychologists to pursue research that can facilitate consciousness‐raising and social justice across society. The paper provides a methodological overview of existential‐hermeneutic phenomenological research and discusses how its research findings can be disseminated to the widespread public in artistic formats. I demonstrate how filmmaking is an appropriate aesthetic language through which to disseminate phenomenological research about lived experiences of oppression, grounding this proposition in phenomenological philosophy and liberation psychology. I outline the procedural steps for conducting cinematic‐phenomenological research to produce phenomenological films about oppressive sociocultural phenomena. The paper concludes with suggestions for academic disciplines to become more interdisciplinary in our collective pursuit for social advocacy and change.     

Experimenting with phenomenology

We review the use of introspective and phenomenological methods in experimental settings. We distinguish different senses of introspection, and further distinguish phenomenological method from introspectionist approaches. Two ways of using phenomenology in experimental procedures are identified: first, the neurophenomenological method, proposed by Varela, involves the training of experimental subjects. This approach has been directly and productively incorporated into the protocol of experiments on perception. A second approach may have wider application and does not involve training experimental subjects in phenomenological method. It requires front-loading phenomenological insights into experimental design. A number of experiments employing this approach are reviewed. We conclude with a discussion of the implications for both the cognitive sciences and phenomenology.     

On-line false belief understanding qua folk psychology?

In this paper, I address Mitchell Herschbach’s arguments against the phenomenological critics of folk psychology. Central to Herschbach’s arguments is the introduction of Michael Wheeler’s distinction between ‘on-line’ and ‘off-line’ intelligence to the debate on social understanding. Herschbach uses this distinction to describe two arguments made by the phenomenological critics. The first is that folk psychology is exclusively off-line and mentalistic. The second is that social understanding is on-line and non-mentalistic. To counter the phenomenological critics, Herschbach argues for the existence of on-line false belief understanding. This demonstrates that folk psychology is not restricted to off-line forms and that folk psychology is more widespread than the phenomenological critics acknowledge. In response, I argue the on-line/off-line distinction is a problematic way of demarcating the phenomenological critics from orthodox accounts of folk psychology.     

La musica contemporanea statunitense e i suoi elementi fenomenologici

This article seek to highlight the aspects — explicit or implicit — that indicate the close attention paid by much American musicology of this century to the phenomenological level of musical events or, more generally, of the sound event. Starting from general considerations on American music and some of its protagonists, the article focuses on Elliott Carter, on his poetics, and on his theories expressed in his writings.Carter's compositional choices and his consciousness of the intrinsic complexity they assume theoretically provide a starting point for a phenomenological study of many aspects of compositional experience: from consideration of instrumental language with its structural phenomenological (and historical) implications, to more global evaluation of the centrality of temporal and rhythmic subjects.Carter's music corresponds to the theories of many American phenomenologists of music. This also proves the community of interests evident in United States both in music and phenomenological theories.     

经验现象学心理学:乔治对胡塞尔现象学的继承与发展

美国现象学心理学家阿米多·乔治基于科学和心理学视角所提出的经验现象学心理学是对胡塞尔现象学的继承和发展。这表现为:在批判对象上,从胡塞尔的反二元论细化为反自然科学心理学;在出发点和基本原则上,将胡塞尔的生活世界、意向性、还原等概念从超验层面放置到经验层面;在研究方法上,从胡塞尔的描述还原过程转向具体的描述现象学心理学方法。本质上,乔治的经验现象学心理学与胡塞尔的现象学一脉相承,不仅完美地展示了后者的基本原理,更在具体概念和操作应用上充实且超越了后者。     

Heterophenomenology and phenomenological skepticism

This paper is an attempt to clarify and assess Dennett’s opinion about the relevance of the phenomenological tradition to contemporary cognitive science, focussing on the very idea of a phenomenological investigation. Dennett can be credited with four major claims on this topic: (1) Two kinds of phenomenological investigations must be carefully distinguished: autophenomenology and heterophenomenology; (2) autophenomenology is wrong, because it fails to overcome what might be called the problem of phenomenological scepticism; (3) the phenomenological tradition mainly derived from Husserl is based on an autophenomenological conception of phenomenology, and, consequently, can be of no help to contemporary cognitive science; (4) however, heterophenomenology is indispensable for obtaining an adequate theory of consciousness. In response to Dennett’s analysis, the paper develops two main counterclaims: (1) Although the traditional conception of phenomenology does indeed fit Dennett’s notion of autophenomenology, his sceptical arguments fail to rule out at least the possibility of a modified version of this traditional conception, such as the one defended in Roy et al. (Naturalizing Phenomenology, 1999); (2) the distinction between autophenomenology and heterophenomenology is at any rate misconceived, because, upon closer analysis, heterophenomenology proves to include the essential characteristics of autophenomenology.     

The Existential Sources of Phenomenology: Heidegger on Formal Indication

Abstract: This article contributes to the contemporary debate regarding the young Heidegger's method of formal indication. Theodore Kisiel argues that this method constitutes a radical break with Husserl—a rejection of phenomenological reflection that paves the way to the non‐reflective approach of the Beiträge. Against this view, Steven Crowell argues that formal indication is continuous with Husserlian phenomenology—a refinement of phenomenological reflection that reveals its existential sources. I evaluate this debate and adduce further considerations in favor of Crowell's view. To do so, I analyze the young Heidegger's account of phenomenological communication and argue that it further reflects the continuity that Crowell identifies: as he does with reflection, Heidegger refines Husserl's account of phenomenological communication and sheds light on its existential sources.     

The woman in the painting and the image in the penny: an investigation of phenomenological doubleness, seeing-in, and “reversed seeing-in”

The experience of looking at a tilted penny involves a “phenomenological doubleness” in that it simultaneously seems to be of something circular and of something elliptical. In this paper, I investigate the phenomenological doubleness of this experience by comparing it to another case of phenomenological doubleness––the phenomenological doubleness of seeing an object in a painting. I begin by pointing out some striking similarities between the phenomenological characters of these two experiences. I then argue that these phenomenological characters have a common explanation. More specifically, I argue that the psychological mechanism that explains the phenomenological doubleness of the experience of seeing an object in a painting can be extended to also explain the phenomenological doubleness of the experience of seeing a tilted penny.

The body maledict: Understanding the method of standpoint phenomenology through the work of Frantz Fanon

In this article, I examine the phenomenological methodology at work in Fanon's revision of the body schema. I argue that he implicitly utilizes a methodology I call standpoint phenomenology and show how this methodology emphasizes experiences that are not “universal” but specific to certain social groups in order to uncover shared ontological structures of experience. Fanon's work illustrates two key theses of standpoint phenomenology: (1) the thesis of situated phenomenology and (2) the thesis of inverted phenomenological privilege. I also draw a deep connection between classical and standpoint phenomenology by showing that it is the phenomenological analysis of breakdown experiences (e.g., corporeal malediction) that enables a standpoint approach to phenomenology. This breakdown methodology is explicitly developed by Heidegger and utilized implicitly by Merleau-Ponty. If I am right, standpoint phenomenology is both a natural development of and a considerable advance on the traditional methodology. This article, then, provides a better understanding of Fanon's place in the phenomenological tradition and, more broadly, makes explicit a new methodology for advancing phenomenological research.     

Blurred vision: Marion on the ‘possibility’ of revelation

In this paper I challenge Merold Westphal’s claim that Jean-Luc Marion’s hermeneutical phenomenology is especially useful for theology. I argue that in spite of his explicit allegiance to Husserl’s “principle of all principles,” Marion fails to embody a commitment to phenomenological seeing in his analyses of revelation. In the sections of Being Given where he discusses revelation, Marion allows faith-based claims to bleed into his phenomenological analyses, resulting in what I call his ‘blurred vision’—the pretension that phenomenological seeing can be extended to theological matters. This pretension undermines Marion’s phenomenological aspirations, because it invests his analyses with a theological content that phenomenological intuition cannot account for or clarify. At the same time, this blurring of the line between theology and phenomenology also makes Marion’s work theologically ineffective. For it furnishes the theologian and believer with the false assurance that faith-based commitments can be grounded in phenomenological knowledge—a claim that he simply cannot make good on. In light of these problems, I propose an alternative Heideggerian approach that maintains the boundary between philosophical and theological discourse and thereby safeguards the integrity of both.     

Understanding the representational mind: A phenomenological perspective

This paper reflects on the relationship between Husserlian phenomenology and scientific psychology. It tries to show how phenomenological results have relevance and validity for present-day cognitive developmental psychology by arguing that consciousness matters in the study of the representational mind. The paper presents some methodological remarks concerning empirical or applied phenomenology; it describes the conception of an exploratory developmental study with 3 to 9-year-old children viewing a complex pictorial display; it then illustrates how a phenomenological interpretation of the data works; in conclusion, it sketches a view of realism about conscious experiences which is taken to be inherent in the phenomenological perspective of understanding the representational mind.     

The phenomenological ontology of literature

Literary ontology is essentially a phenomenological issue rather than one of epistemology, sociology, or psychology. It is a theory of the phenomenological essence intuited from a sense of beauty, based on the phenomenological ontology of beauty, which puts into “brackets” the sociohistorical premises and material conditions of aesthetic phenomena. Beauty is the “objectified” emotion. This is the phenomenological definition of the essence of beauty, which manifests itself on three levels, namely “emotion qua selfconsciousness,” “sense of beauty qua emotion,” and “sentiment qua sense of beauty.” Art on the other hand is the “objectification of emotion” whose most general and closest manner to “humanity” is literature and poetry. Poetry is the origin of language and the linguistic essence is a metaphor. Language as “the house of being” is both “thinking” and “poetry.” Literature expresses the essence of art in the most direct way and, in traditional Chinese aesthetic terminology, literature is the “language of emotion” conveyed by the writer based on his own emotion towards the “language of scene.”     

The Dance of Attention: Toward an Aesthetic Dimension of Attention-Deficit

What role does the aesthetics of bodily movement play in the understanding of attention among children diagnosed with attention-deficit/hyperactivity disorder (ADHD)? This article animates a phenomenological approach to attention and embodiment with a special focus on the relation between aesthetic or expressive bodily movement and behavioral awareness in children diagnosed with ADHD. However, beyond this it is argued that the aesthetic aspect of movement calls for an expansion of the phenomenological perspective. In this context Gilles Deleuze’s notion of aesthetics as a “science of the sensible” is activated and discussed in relation to the phenomenological concept of perception. Empirically the article takes point of departure in a qualitative study conducted with a group of children with attention-deficit practicing the Afro-Brazilian marital art, capoeira. Combining ethnographic and phenomenological methods, it is demonstrated that capoeira can be considered a form of aesthetic movement that offers a transition of attention-deficit into a productive force of expression that changes the notions of sensation and movement in ADHD.     

形式显示的现象学--海德格尔早期弗莱堡讲座研究

本文讨论海德格尔早期弗莱堡讲座中的现象学。作者从题域和方法两个角度上探讨海德格尔这个时期的形式显示现象学。就题域来说,海德格尔试图突破胡塞尔现象学的“知识”或“理论”局限,深入到“前理论的”层面,即所谓前理论的“原始东西”;就方法来说,海德格尔沉思和实践了他所谓的“形式显示”的思路和言路,以此力求与传统哲学的形式化思想方法划界。作者认为,“形式显示”的现象学方法乃是海德格尔在《存在与时间》之前的现象学哲思的最富特色和创意的成分;而由于这种方法上的探索也影响到后期海德格尔的思想道路,因此一般而言,它也标志着海德格尔全部思想的现象学特质。     

Sociology as a Naïve Science: Alfred Schütz and the Phenomenological Theory of Attitudes

Alfred Schütz is often credited with providing sociology with a firm ground derived from phenomenology of science and justifying it as a science operating within natural attitude. Although his project of social science draws extensively on Edmund Husserl’s theory of attitudes, it would be incorrect to assume that Schütz shares with the founder of phenomenology his conception of science. This paper compares Husserl’s and Schütz’s views on the structure and meaning of science and traces the roots of their radical divergence. Whereas Husserl increasingly emphasises the importance of phenomenological reduction for the genuine human science, Schütz eventually rejects reduction and restricts the social science to a specific system of relevancies within the reality of the lifeworld. This paper presents the argument that Schütz’s conception eliminates the possibility of a phenomenological justification of social science, as it implies that there are no rationally justifiable grounds to pursue science. In this way, Schütz’s views substantially differ from the phenomenological theory of science and become open to the phenomenological critique of naivety.     

What is Phenomenological Sociology Again?

In this paper, I seek to caution the increasing number of contemporary sociologists who are engaging with continental phenomenological sociology without looking at the Anglo-American tradition. I look at a particular debate that took place during the formative period in the Anglo-American tradition. My focus is on the way participants sought to negotiate the disciplinary division between philosophy and sociology. I outline various ways that these disciplinary exigencies, especially the institutional struggles with the sociological establishment, shaped how participants defined phenomenological sociology. I argue that despite the supposed theoretical, methodological, and substantial differences between these waves of phenomenological sociology, the contemporary wave could benefit from some of the lessons that were learned by their predecessors.