Some years after the publication of his main work, the Logische Untersuchungen (Logical Investigations; first edition, 1900-1901) Husserl made some key conceptual elaborations which led him to assert that in order to study the structure of consciousness, one would have to distinguish between the act of consciousness and the phenomena at which it is directed (the object-in-itself, transcendent to consciousness). Knowledge of essences would only be possible by "bracketing" all assumptions about the existence of an external world. This procedure he called epoché. These new concepts prompted the publication of the Ideen (Ideas) in 1913, in which they were at first incorporated, and a plan for a second edition of the Logische Untersuchungen.
From the Ideen onward, Husserl concentrated on the ideal, essential structures of consciousness. The metaphysical problem of establishing the material reality of what we perceive was of little interest to Husserl in spite of his being a transcendental idealist. Husserl proposed that the world of objects and ways in which we direct ourselves toward and perceive those objects is normally conceived of in what he called the "natural standpoint", which is characterized by a belief that objects materially exist and exhibit properties that we see as emanating from them. Husserl proposed a radical new phenomenological way of looking at objects by examining how we, in our many ways of being intentionally directed toward them, actually "constitute" them (to be distinguished from materially creating objects or objects merely being figments of the imagination); in the Phenomenological standpoint, the object ceases to be something simply "external" and ceases to be seen as providing indicators about what it is, and becomes a grouping of perceptual and functional aspects that imply one another under the idea of a particular object or "type". The notion of objects as real is not expelled by phenomenology, but "bracketed" as a way in which we regard objects instead of a feature that inheres in an object's essence founded in the relation between the object and the perceiver. In order to better understand the world of appearances and objects, Phenomenology attempts to identify the invariant features of how objects are perceived and pushes attributions of reality into their role as an attribution about the things we perceive (or an assumption underlying how we perceive objects).
In a later period, Husserl began to wrestle with the complicated issues of intersubjectivity (specifically, how communication about an object can be assumed to refer to the same ideal entity) and tries new methods of bringing his readers to understand the importance of Phenomenology to scientific inquiry (and specifically to Psychology) and what it means to "bracket" the natural attitude. The Crisis of the European Sciences is Husserl's unfinished work that deals most directly with these issues. In it, Husserl for the first time attempts a historical overview of the development of Western philosophy and science, emphasizing the challenges presented by their increasingly (one-sidedly) empirical and naturalistic orientation. Husserl declares that mental and spiritual reality possess their own reality independent of any physical basis,[2] and that a science of the mind ('Geisteswissenschaft') must be established on as scientific a foundation as the natural sciences have managed:
, Die Subjekt-Objekt-Dialektik in der transzendentalen Phänomenologie
Thursday, November 13, 2008
more blurbs
Knowing how to look is a completely new system of spiritual surveying. Knowing how to look is a means of inventing. And no invention has been as pure as that created by the anesthetic gaze of the naked, lashes of Zeiss; distilled and attentive, immune to the red rash of conjunctivitis.
Nothing is more Favorable to the osmoses which occur between reality and surreality then photography which, with the new vocabulary that it imposes, offers a lesson simultaneously in maximum liberty. Photographic data are the process of operating- s much photogenically as by the revision of the external world, which each time becomes more and more an object of doubt, and at the same time offer further unusual possibilities for a lack of cohesion
The Surrealist revolution has claimed: atomic writing - the surrealist text - the predream images - dreams - mental alienation - hysteria - the invention of chance - the hypnotic dream
By solidifying these delinquent dreamy images, Dali Metaphorically enacts the surrealist desire to make dream tangible. The truly Paranoid-critical moment comes when the calcified images begin to liquefy and a stream of associations flows forth.
Objects are realized representations of inner states of trauma and neurosis as well as more bang samples of concretized irrationality
Salvador Dali: OUI- The Paranoid Critical Revolution Translated Yvonne shafit,
In Effect the ground glass divorces us from the realistic appearances of the world as seen in the rectified small-camera finder. The ground glass image thus exists as a thing in itself, specifically photographic and not merely a simulation of the “view” before the camera”
Ansel Adams, The Camera
Hartmann: dreams may function like psychotherapy, by "making connections in a safe place" and allowing the dreamer to integrate thoughts that may be dissociated during waking life.
Hartmann, E. (1995) Making connections in a safe place: Is dreaming psychotherapy?
Confabulation is the formation of false memories, perceptions, or beliefs about the self or the environment as a result of neurological or psychological dysfunction. When it is a matter of memory, confabulation is the confusion of imagination with memory, or the confused application of true memories.
Dictionary, based on http://www.newscientist.com/channel/being-human/mg19225720.100-mind-fiction-why-your-brain-tells-tall-tales.html
Development of brain and its ability to hold verbatim aspects of memory as oppose to the gist of memory.
Reyna, V. F. & Brainerd, C. J., "Fuzzy trace theory: an interim synthesis", Learning and individual differences, 7, 1–75, 1995.
All these formulations have been possible thanks to the initial distinction between different irreducible types of genesis and structure: worldly genesis and transcendental genesis, empirical structure, eidetic structure, and transcendental structure. To ask oneself the following historic-semantic question: "What does the notion of genesis in general, on whose basis the Husserlian diffraction could come forth and be understood, mean, and what has it always meant? What does the notion of structure in general, on whose basis Husserl operates and operates distinctions between empirical, eidetic, and transcendental dimensions mean, and what has it always meant throughout its displacements? And what is the historico-semantic relationship between genesis and structure in general?" is not only simply to ask a prior linguistic question. It is to ask the question about the unity of the historical ground on whose basis a transcendental reduction is possible and is motivated by itself. It is to ask the question about the unity of the world from which transcendental freedom releases itself, in order to make the origin of this unity appear.
Jacques Derrida, "'Genesis' and 'Structure' and Phenomenology,"
Nothing is more Favorable to the osmoses which occur between reality and surreality then photography which, with the new vocabulary that it imposes, offers a lesson simultaneously in maximum liberty. Photographic data are the process of operating- s much photogenically as by the revision of the external world, which each time becomes more and more an object of doubt, and at the same time offer further unusual possibilities for a lack of cohesion
The Surrealist revolution has claimed: atomic writing - the surrealist text - the predream images - dreams - mental alienation - hysteria - the invention of chance - the hypnotic dream
By solidifying these delinquent dreamy images, Dali Metaphorically enacts the surrealist desire to make dream tangible. The truly Paranoid-critical moment comes when the calcified images begin to liquefy and a stream of associations flows forth.
Objects are realized representations of inner states of trauma and neurosis as well as more bang samples of concretized irrationality
Salvador Dali: OUI- The Paranoid Critical Revolution Translated Yvonne shafit,
In Effect the ground glass divorces us from the realistic appearances of the world as seen in the rectified small-camera finder. The ground glass image thus exists as a thing in itself, specifically photographic and not merely a simulation of the “view” before the camera”
Ansel Adams, The Camera
Hartmann: dreams may function like psychotherapy, by "making connections in a safe place" and allowing the dreamer to integrate thoughts that may be dissociated during waking life.
Hartmann, E. (1995) Making connections in a safe place: Is dreaming psychotherapy?
Confabulation is the formation of false memories, perceptions, or beliefs about the self or the environment as a result of neurological or psychological dysfunction. When it is a matter of memory, confabulation is the confusion of imagination with memory, or the confused application of true memories.
Dictionary, based on http://www.newscientist.com/channel/being-human/mg19225720.100-mind-fiction-why-your-brain-tells-tall-tales.html
Development of brain and its ability to hold verbatim aspects of memory as oppose to the gist of memory.
Reyna, V. F. & Brainerd, C. J., "Fuzzy trace theory: an interim synthesis", Learning and individual differences, 7, 1–75, 1995.
All these formulations have been possible thanks to the initial distinction between different irreducible types of genesis and structure: worldly genesis and transcendental genesis, empirical structure, eidetic structure, and transcendental structure. To ask oneself the following historic-semantic question: "What does the notion of genesis in general, on whose basis the Husserlian diffraction could come forth and be understood, mean, and what has it always meant? What does the notion of structure in general, on whose basis Husserl operates and operates distinctions between empirical, eidetic, and transcendental dimensions mean, and what has it always meant throughout its displacements? And what is the historico-semantic relationship between genesis and structure in general?" is not only simply to ask a prior linguistic question. It is to ask the question about the unity of the historical ground on whose basis a transcendental reduction is possible and is motivated by itself. It is to ask the question about the unity of the world from which transcendental freedom releases itself, in order to make the origin of this unity appear.
Jacques Derrida, "'Genesis' and 'Structure' and Phenomenology,"
Wednesday, November 12, 2008
some blurbs
To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge- and, therefore, like power. In a now notorious first fall into alienation, habitual zing people to abstract the world into printed words, is suppose to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. … photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire.
What renders a photograph surreal is its irrefutable pathos as a message from the time past.
Photography implies that we know about the world f we accept it as the camera records it. But this is the opposite of understanding, which starts from not accepting the world as it looks.
“A photograph is not an accident- it is a concept” Ansel Adams insists. The ‘machine gun’ approach to photography - by which many negatives are made with hope that one will be good - is fatal to serious results.” To take a good photograph, runs the common claim, one must already see it.
Susan Sontag: on photography
I was interested in photography only for “sentimental” reasons; I wanted to explore it not as a question ( a theme) but as a wound: I see, I feel, hence I notice, I observe, and I think.
Yet it is not by paining that photography touches art, but theater. Niepce and Daguerre are always put at the origin of photography; now Daguerre..was running a panorama theater animate by light shows and movements in the Place du Chateau. The camera Obsucra, in short, has generated at one and the same time perspective painting, photography, and diorama, which are all three areas of the stage.
Roland Barthes Camera Lucidia
Adelbert Ames was a Dartmouth College scientist whose research at the Dartmouth ere institute established a foundation in perceptual research that has provided an experimental demonstration of the way we process information. Ames showed that perception is based not only upon whatever is out there, before one’s gazed, but also and equally upon one’s previous perceptions, and upon one’s purpose, and upon one’s readiness to perceive.
Aesthetics lies in ruins not only because of logical faults, but also because modern perception theory has destroyed its entire psychological foundations
Adam Baer, Displaced perspectives, Reality just aint what it used to be, ANTHONY BANNON
The artists is the origin of the work. The work is the origin of the artist. Neither is without the other. Never the less, neither is in the sole support of the other. In themselves and in their interrelations artist and work are each of them by virtue of a third thing which is prior to both. Namely that which also gives artist an work of art their names
Art- this is nothing more then a word (world) to which nothing real any longer corresponds.
The art work is, a thing that is made, its says something other than the mere thing itself. The work makes public something other than itself; it manifest something other; it is an allegory.
The work, there fore is not the reproduction of some particular entity that happens to be present at any given time; it is, on the contrary, the reproduction of the thing’s general essence
Martin Heidegger, Origin of the work of art
All these formulations have been possible thanks to the initial distinction between different irreducible types of genesis and structure: worldly genesis and transcendental genesis, empirical structure, eidetic structure, and transcendental structure. To ask oneself the following historic-semantic question: "What does the notion of genesis in general, on whose basis the Husserlian diffraction could come forth and be understood, mean, and what has it always meant? What does the notion of structure in general, on whose basis Husserl operates and operates distinctions between empirical, eidetic, and transcendental dimensions mean, and what has it always meant throughout its displacements? And what is the historico-semantic relationship between genesis and structure in general?" is not only simply to ask a prior linguistic question. It is to ask the question about the unity of the historical ground on whose basis a transcendental reduction is possible and is motivated by itself. It is to ask the question about the unity of the world from which transcendental freedom releases itself, in order to make the origin of this unity appear.
"Must not structure have a genesis, and must not the origin, the point of genesis, be already structured, in order to be the genesis of something?"
Jacques Derrida, "'Genesis' and 'Structure' and Phenomenology,"
What renders a photograph surreal is its irrefutable pathos as a message from the time past.
Photography implies that we know about the world f we accept it as the camera records it. But this is the opposite of understanding, which starts from not accepting the world as it looks.
“A photograph is not an accident- it is a concept” Ansel Adams insists. The ‘machine gun’ approach to photography - by which many negatives are made with hope that one will be good - is fatal to serious results.” To take a good photograph, runs the common claim, one must already see it.
Susan Sontag: on photography
I was interested in photography only for “sentimental” reasons; I wanted to explore it not as a question ( a theme) but as a wound: I see, I feel, hence I notice, I observe, and I think.
Yet it is not by paining that photography touches art, but theater. Niepce and Daguerre are always put at the origin of photography; now Daguerre..was running a panorama theater animate by light shows and movements in the Place du Chateau. The camera Obsucra, in short, has generated at one and the same time perspective painting, photography, and diorama, which are all three areas of the stage.
Roland Barthes Camera Lucidia
Adelbert Ames was a Dartmouth College scientist whose research at the Dartmouth ere institute established a foundation in perceptual research that has provided an experimental demonstration of the way we process information. Ames showed that perception is based not only upon whatever is out there, before one’s gazed, but also and equally upon one’s previous perceptions, and upon one’s purpose, and upon one’s readiness to perceive.
Aesthetics lies in ruins not only because of logical faults, but also because modern perception theory has destroyed its entire psychological foundations
Adam Baer, Displaced perspectives, Reality just aint what it used to be, ANTHONY BANNON
The artists is the origin of the work. The work is the origin of the artist. Neither is without the other. Never the less, neither is in the sole support of the other. In themselves and in their interrelations artist and work are each of them by virtue of a third thing which is prior to both. Namely that which also gives artist an work of art their names
Art- this is nothing more then a word (world) to which nothing real any longer corresponds.
The art work is, a thing that is made, its says something other than the mere thing itself. The work makes public something other than itself; it manifest something other; it is an allegory.
The work, there fore is not the reproduction of some particular entity that happens to be present at any given time; it is, on the contrary, the reproduction of the thing’s general essence
Martin Heidegger, Origin of the work of art
All these formulations have been possible thanks to the initial distinction between different irreducible types of genesis and structure: worldly genesis and transcendental genesis, empirical structure, eidetic structure, and transcendental structure. To ask oneself the following historic-semantic question: "What does the notion of genesis in general, on whose basis the Husserlian diffraction could come forth and be understood, mean, and what has it always meant? What does the notion of structure in general, on whose basis Husserl operates and operates distinctions between empirical, eidetic, and transcendental dimensions mean, and what has it always meant throughout its displacements? And what is the historico-semantic relationship between genesis and structure in general?" is not only simply to ask a prior linguistic question. It is to ask the question about the unity of the historical ground on whose basis a transcendental reduction is possible and is motivated by itself. It is to ask the question about the unity of the world from which transcendental freedom releases itself, in order to make the origin of this unity appear.
"Must not structure have a genesis, and must not the origin, the point of genesis, be already structured, in order to be the genesis of something?"
Jacques Derrida, "'Genesis' and 'Structure' and Phenomenology,"
First blogpost...
After an amazing SPE last weekend I saw a real use for the blog spot sites....damn you Brian. So I wanted to start posting up images and thoughts some where, with out having to build another site. And I realized I need to start writing more, more in terms of amount and more in terms of my thinking on theory so I can just get them out of my head.
So here I go and hope to update this regularly.
So here I go and hope to update this regularly.
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