Lost in the supermarket

Dylan Trigg on anxiety, phobia, and phenomenolog

The Role of the Earth in Merleau-Ponty’s Archaeological Phenomenology

This paper argues that the concept of the Earth plays a pivotal role in Merleau-Ponty’s thinking in two ways. First, the concept assumes a special importance in terms of Merleau-Ponty’s relation to Husserl via the fragment known as “The Earth Does Not Move.” Two, from this fragment, the Earth marks a key theme around which Merleau-Ponty’s late philosophy revolves. In particular, it is with the concept of the Earth that Merleau-Ponty will develop his archaeologically oriented phenomenology. To defend this claim, the paper unfolds in three stages. First, I provide a preliminary reading of Husserl’s fragment, focusing in particular on the co-constitution of body and Earth. Two, I turn to Merleau-Ponty’s interpretations of this fragment, especially in the lectures on nature and then in the later lectures on Husserl. From these varying interpretations, the germs of Merleau-Ponty’s archaeological phenomenology are conceived. Accordingly, in the final part of the paper, I claim that Merleau-Ponty’s account of the Earth is Husserlian insofar as it reinforces the primordial “ground (sol) of experience” but at the same time marks a departure from Husserl insofar as the Earth registers a brute or wild layer that resists phenomenology

The Thing: a Phenomenology of Horror

What is the human body? Both the most familiar and unfamiliar of things, the body is the centre of experience but also the site of a prehistory anterior to any experience. Alien and uncanny, this other side of the body has all too often been overlooked by phenomenology. In confronting this oversight, Dylan Trigg’s The Thing redefines phenomenology as a species of realism, which he terms unhuman phenomenology. Far from being the vehicle of a human voice, this unhuman phenomenology gives expression to the alien materiality at the limit of experience. By fusing the philosophies of Merleau-Ponty, Husserl, and Levinas with the horrors of John Carpenter, David Cronenberg, and H.P. Lovecraft, Trigg explores the ways in which an unhuman phenomenology positions the body out of time. At once a challenge to traditional notions of phenomenology, The Thing is also a timely rejoinder to contemporary philosophies of realism. The result is nothing less than a rebirth of phenomenology as redefined through the lens of horror

How landscapes remember

This paper considers the possibility that as subject or agent, the landscape might have the potential to contain, store or transmit memories of their past, which are engaged experientially as uncanny. In a simple sense it asks why there are some landscapes – or landscape features – that are regarded as spiritually animated by different social groups, at different times. The paper focuses on the Neolithic temple site of Borġ-in-Nadur, in Southern Malta, which as well as having been a site of prehistoric ritual activity has more recently been the site of a significant devotion to the Virgin Mary, who graced the site with regular apparitions, and a focus for national and transnational Goddess pilgrimage. The paper suggests that sites such as Borġ-in-Nadur can be seen as palimpsest landscapes, in which memory is layered such that experiential engagements with them draw the past in to the present, and forwards into the future. The paper examines the intertwining of prehistoric, Catholic and Neo-pagan engagements with Borġ-in-Nadur, extending Pierre Nora’s concept of lieux de memoire (sites of memory) to encompass the milieux de memoire, or memorial environments, which are themselves also context of, and for, the uncanny

A future for Hashima: pornography, representation and time

This article sets out to investigate the relationship between ruins, futurity, and ‘ruin porn’ - a visual mode of representation that all too often seeks to fix post-industrial ruins as mere aesthetic objects, devoid of history and/or temporality. It does so by focusing on performance, which, in this context, is understood as a processual mode of art-making that provides spectators with an experience of time. In this expanded definition of performance, as one may perhaps expect, the performativity of the object is not limited to the theatrical event alone; rather, it now inheres in sometimes uncanny durational aspects of both still and moving images. The essay proceeds in three stages. Part one provides a historical and theoretical overview of the type of performance inherent in ‘ruin porn’; part two critiques two images from Yves Marchand's and Romain Meffre's Gunkanjima (2013), a photo album that attempted to document the ruins of Hashima, an island situated 15 kilometres from Nagasaki City in the East China Sea; and part three investigates the very different aesthetic at work in Lee Hassall's film Return to Battleship Island (2013) which was made in response to AHRC- funded project, ‘The Future of Ruins: Reclaiming Abandonment and Toxicity on Hashima Island’ (2013). In this reading of Return to Battleship Island , the onus is on showing how Hassall's film, in its representation of Hashima's crumbling apartment blocks and industrial buildings, intentionally sought to contest the atemporal logic of ‘ruin porn’ by attempting to endow the viewing experience with a sense of futurity. Crucially, this does not mean that film represented the future as an object, but, on the contrary, tried to make it palpable, as something one undergoes physically in the very act of reception

Agency and anxiety: Delusions of control and loss of control in Schizophrenia and Agoraphobia

We review the distinction between sense of agency and sense of ownership, and then explore these concepts, and their reflective attributions, in schizophrenic symptoms and agoraphobia. We show how the underlying dynamics of these experiences are different across these disorders. We argue that these concepts are complex and cannot be reduced to neural mechanisms, but involve embodied and situated processes that include the physical and social environments. We conclude by arguing that the subjective and intersubjective dimensions of agency and ownership cannot be considered in isolation from one another, but instead form an interdependent pairing

The Return of the New Flesh: Body Memory in David Cronenberg and Merleau-Ponty

From the “psychoplasmic” offspring in The Brood (1979) to the tattooed encodings in Eastern Promises (2007), David Cronenberg presents a compelling vision of embodiment, which challenges traditional accounts of personal identity and obliges us to ask how human beings persist through different times, places, and bodily states while retaining their sameness. Traditionally, the response to this question has emphasised the importance of cognitive memory in securing the continuity of consciousness. But what has been underplayed in this debate is the question of how the body can both reinforce and disrupt the grounds for our personal identity. Accordingly, by turning the notoriously “body conscious” work of Cronenberg, especially his seminal The Fly (1986), I intend to pursue the relation between identity and embodiment in the following way. First, by augmenting John Locke’s account of personal identity with a specific appeal to the body, I will explore how Cronenberg’s treatment of embodiment as a site of independent experience challenges the idea we have that cognitive memory is the guarantor of personal identity. Cronenberg’s treatment of the “New Flesh” posits an account of the body that undermines the Cartesian and Lockean account of personal identity as being centred on the mind. In its place, I will argue that Cronenberg shows us how the body establishes a personality independently of the mind. Second, through focusing explicitly on body memory, I will explore how we, as embodied subjects, relate to our bodies in a Cronenbergian world. Approaching this relation between memory and embodiment via the phenomenology of Merleau-Ponty, I will argue that memory is at the heart of Cronenberg’s vision of body horror. I will conclude by suggesting that far from generating unity, Cronenberg’s vision of embodiment and identity is diseased (often literally) by a memory that cannot be assimilated by cognition. The result of this failure to assimilate body memory, is that memory itself occupies the role of the monster within

Memory and place : a phenomenological study

Research on the relationship between place, memory, and identity has tended to focus on either 'felicitous' instances of domesticity (Bachelard, 1994), or on the unambiguous dualism between what constitutes a sense of place and what has perniciously been termed 'site', place divested of its specificity and reduced to a non-place (Casey, 1993, 1997, 2000). My thesis is a rejoinder to this dualism by redirecting the focus toward the memory of places that challenge rather than reinforce our sense of identity. In this way, I hope to advance a more nuanced and progressive understanding of the role place plays in shaping identity, a role that extends to transitional as well as domestic places. I achieve this by performing a phenomenological analysis on the ambiguous entwinement between place and memory, in both an everyday, transitional, and traumatic context. As I argue in my thesis, far from an additional component of memory and history, the spatiality of the past is not only central in the preservation of history but also fundamental to its emergence in the first instance. This implicit rejection of memory as being solely a temporal event leads me to a series of investigations aimed at assessing how memory can become spatialized and how space can be memorialised. Between this dynamic, the role of the body assumes a pivotal role in both facilitating access to the past but also problematizing that access, especially where the memory of trauma is concerned. Against the tendency to split place into dualistic 'modes', my account of the body as a mediator between self and world serves to undermine this dualism by arguing for a morphological rather than divisive absorption of place.EThOS - Electronic Theses Online ServiceGBUnited Kingdo