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The digital age we now live in is fundamentally changing how we
relate to our perceptions and images. Daniel O'Shiel provides the
first comprehensive phenomenology of virtual technology in order to
show how the previously well-established experiential lines and
structures between three basic categories of phenomenal experience
- our everyday perceptions of reality; our everyday fantasies of
irreality; and our everyday engagements with external images, not
least digital ones - are becoming blurred, inverted or are even
collapsing in a new era where a specific type of virtuality is
coming to the fore. O'Shiel examines in depth just what this means
for the phenomenology behind it, as well as the concrete practical
consequences going forward. The work is divided into two main
parts. In the first O'Shiel fully investigates the phenomenological
natures of perception and imagination through close textual
analyses of the relevant works by Edmund Husserl, Eugen Fink and
Jean-Paul Sartre. In each phenomenologist perception and
imagination are ultimately seen as different in kind, although the
dividing line differs, especially with reference to a middle
category of 'image-consciousness' (Bildbewusstsein). This first
part argues for basic phenomenological differences between
perceptions; physical and external images; and more mental imagery,
while also allowing for a more general gradation between them. The
second part then applies these theoretical findings to some of the
most influential 'virtual technologies' today - social media;
online gaming; and some virtual, augmented and mixed reality
technologies - in order to show how previously clear categories of
real and irreal, present and absent, genuine and fake, and even
true and false, are becoming less so.
Jean-Paul Sartre's technical and multifaceted concept of magic is
central for understanding crucial elements of his early philosophy
(1936-1943), not least his conception of the ego, emotion, the
imaginary and value. Daniel O'Shiel follows the thread of magic
throughout Sartre's early philosophical work. Firstly, Sartre's
work on the ego (1936) shows a personal, reflective form of
consciousness that is magically hypostasized onto the
pre-reflective level. Secondly, emotion (1938) is inherently
magical for Sartre because emotive qualities come to inhere in
objects and thereby transform a world of pragmatism into one of
captivation. Thirdly, analyses of The Imaginary (1940) reveal that
anything we imagine is a spontaneous creation of consciousness that
has the power to enchant and immerse us, even to the point of
images holding sway over us. Culminating with Sartre's ontological
system of Being and Nothingness (1943), O'Shiel argues that Sartre
does not do away with the concept, but in fact provides ontological
roots for it. This is most evident in Sartre's analyses of value,
possession and language. A second part shows how such Sartrean
magic is highly relevant for a number of concrete case studies: the
arts, advertising, racism and stupidity, and certain instances of
psychopathology. O'Shiel shows that Sartre's magical being is
important for any contemporary philosophical anthropology because
it is essentially at work at the heart of many of our most
significant experiences, both creative and damaging.
Jean-Paul Sartre's technical and multifaceted concept of magic is
central for understanding crucial elements of his early philosophy
(1936-1943), not least his conception of the ego, emotion, the
imaginary and value. Daniel O'Shiel follows the thread of magic
throughout Sartre's early philosophical work. Firstly, Sartre's
work on the ego (1936) shows a personal, reflective form of
consciousness that is magically hypostasized onto the
pre-reflective level. Secondly, emotion (1938) is inherently
magical for Sartre because emotive qualities come to inhere in
objects and thereby transform a world of pragmatism into one of
captivation. Thirdly, analyses of The Imaginary (1940) reveal that
anything we imagine is a spontaneous creation of consciousness that
has the power to enchant and immerse us, even to the point of
images holding sway over us. Culminating with Sartre's ontological
system of Being and Nothingness (1943), O'Shiel argues that Sartre
does not do away with the concept, but in fact provides ontological
roots for it. This is most evident in Sartre's analyses of value,
possession and language. A second part shows how such Sartrean
magic is highly relevant for a number of concrete case studies: the
arts, advertising, racism and stupidity, and certain instances of
psychopathology. O'Shiel shows that Sartre's magical being is
important for any contemporary philosophical anthropology because
it is essentially at work at the heart of many of our most
significant experiences, both creative and damaging.
The digital age we now live in is fundamentally changing how we
relate to our perceptions and images. Daniel O'Shiel provides the
first comprehensive phenomenology of virtual technology in order to
show how the previously well-established experiential lines and
structures between three basic categories of phenomenal experience
– our everyday perceptions of reality; our everyday fantasies of
irreality; and our everyday engagements with external images, not
least digital ones – are becoming blurred, inverted or are even
collapsing in a new era where a specific type of virtuality is
coming to the fore. O’Shiel examines in depth just what this
means for the phenomenology behind it, as well as the concrete
practical consequences going forward. The work is divided into two
main parts. In the first O’Shiel fully investigates the
phenomenological natures of perception and imagination through
close textual analyses of the relevant works by Edmund Husserl,
Eugen Fink and Jean-Paul Sartre. In each phenomenologist perception
and imagination are ultimately seen as different in kind, although
the dividing line differs, especially with reference to a middle
category of ‘image-consciousness’ (Bildbewusstsein). This first
part argues for basic phenomenological differences between
perceptions; physical and external images; and more mental imagery,
while also allowing for a more general gradation between them. The
second part then applies these theoretical findings to some of the
most influential ‘virtual technologies’ today – social media;
online gaming; and some virtual, augmented and mixed reality
technologies – in order to show how previously clear categories
of real and irreal, present and absent, genuine and fake, and even
true and false, are becoming less so.
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