- Phenomenological method: reflection, introspection, and skepticism
- Transcendental phenomenology and the seductions of naturalism: subjectivity, consciousness, and meaning
- Respecting appearances: a phenomenological approach to consciousness
- On the possibility of naturalizing phenomenology
- The phenomenology of life: desire as the being of the subject
- Intentionality without representationalism
- Perception, context, and direct realism
- Colours and sounds: the field of visual and auditory consciousness
- Bodily intentionality, affectivity, and basic affects
- Thought in action
- Sex, gender, and embodiment
- At the edges of my body
- Action and selfhood: a narrative interpretation
- Self-consciousness and World-consciousness
- Self, consciousness, and shame
- The (many) foundations of knowledge
- The phenomenological foundations of predicative structure
- Language and non-linguistic thinking
- Sharing in truth: phenomenology of epistemic commonality
- Responsive ethics
- Towards a phenomenology of the political world
- Other people
- Experience and history
- The forgiveness of time and consciousness
- Hermeneutical phenomenology
- Something that is nothing but can be anything: the image and our consciousness of it
- Phenomenological and aesthetic epoché: painting the invisible things themselves
- Evidence in the phenomenology of religious experience
Abstract and Keywords
This chapter concentrates on the nature of the image as it presents itself in experience, with its remarkable capacity to represent within itself people, events, emotions, and many other things, and with its place in art. The Husserlian perspective has many affinities with more recent investigations of images. The physical dimension of image plays an important role in imaging and has been largely neglected by philosophers, though not by artists. The uniqueness of image consciousness rests in its ability to see something in something else. Then, the chapter assesses the differences between image consciousness and symbolic or signitive consciousness. The resemblance in image consciousness must precisely not be perfect; it must be paired with and permeated by difference and even conflict. Images improve experience by folding into themselves the world.
John Brough is Emeritus Professor of Philosophy at Georgetown University. He has written essays on temporality, aesthetics, representation, and imaging, and is the translator of Husserliana Volume X and, more recently, of Husserliana Volume XXIII, which collects Husserlian texts on memory, image, consciousness, and phantasy. He is also the editor, with Lester Embree, of The Many Faces of Time.
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