Phenomenological Descriptions

'AS IF...' Depersonalization and derealization are dissociative experiences frequently associated with intense and prolonged states of anxiety and stress , emerging as an adaptive response of the organism to such conditions. In depersonalization , the person experiences a sense of distancing from themselves, as if disconnected from their own body, emotions, or thoughts. Derealization , in turn, refers to an alteration in the experience of the world, which comes to be perceived as strange, artificial, lifeless, or “unreal,” even though the person knows, at a cognitive level, that nothing has in fact changed. In both cases, these are not delusions nor a loss of contact with reality, but rather a profound modification in the quality of lived experience . My Experience I experienced continuous symptoms of depersonalization and derealization for five years (from 2004 to 2009), as a consequence of a period of extremely intense anxiety. At the time, I was almost obsessively engaged in...

An alternative explanation for the functioning of EMDR therapy based on phenomenological insights EMDR (Eye Movement Desensitization and Reprocessing) is a psychotherapeutic approach created by Francine Shapiro, widely used in the treatment of trauma, especially PTSD, but also applied to anxiety, phobias, grief, and disturbing emotional experiences. Basically, the patient is asked to evoke a disturbing memory ( image, thought, emotion, and bodily sensation ) while receiving alternating bilateral stimulation, mainly through guided eye movements (right–left), although alternating taps on the hands or alternating sounds in the ears can also be used. A possible alternative explanation, grounded in phenomenological insights, for the effects observed in EMDR can be formulated based on the somatodynamic organization of emotional experience. Here, I start from the hypothesis, supported by phenomenological observations, that emotions generally seem to have bodily pathways of tension organizatio...

Surprise , in my view, is also an experience that is difficult to capture phenomenologically — as is, for example, the state of flow or joy as plenitude — but for different reasons. Flow and joy as plenitude are difficult to access because they are rare states, and flow , in particular, tends to dissolve the moment we try to observe it. Surprise , in turn, is not necessarily rare, but depends on a stimulus that is difficult to evoke voluntarily, making its occurrence unpredictable and hard to isolate for an investigative self-observation. The startle reflex — which can be seen as a reaction similar to surprise , though not identical — also depends on something unexpected, but it is easier to elicit, as it can be triggered by sudden, simple sensory stimuli, such as a loud sound or a quick movement. Even when we know a sound is about to occur, if we don't know exactly when it will happen, we can still experience the startle . Thus, surprise is different from other emotions that I ...

  Invariants In phenomenology ( see here ) , invariants are the essential characteristics of phenomena — those aspects that remain unchanged even when the experience is observed from different viewpoints. They are the fundamental elements that make a particular experience what it is, rather than something else. For these invariants to become apparent to consciousness, the phenomenon must be examined from multiple perspectives. This movement is known as eidetic variation. By imaginatively varying the appearances of a phenomenon, we attempt to reduce the experience to that which is irreducible — its essence ( eidos,  from the Greek εἶδος ). This is the gesture of eidetic reduction . Let us take a simple example: what does it mean to experience a triangle ? A triangle may be scalene, isosceles, or equilateral; it may be large or small, colored or monochrome; it may be drawn on paper, cut from fabric, projected on a screen, and oriented in different directions in space. Despite a...

 Envy, Jealousy, Guilt, Pride and Admiration How do you feel emotions such as envy, jealousy, guilt, pride, and admiration? Before moving on to my phenomenological description of these experiences, I invite you to investigate for yourself: how do these emotions manifest in you? 〰 Description In general, my perception of so-called complex emotions is that many of them do not exhibit expressive characteristics or bodily sensations as clearly defined as those found in the so-called “ basic emotions .” However, some exceptions stand out. Shame , for example — considered by some theories to be a complex emotion — has a very clear and recognizable expressive configuration and bodily sensations ( see here ). Envy and Jealousy In my experience, envy and jealousy do not have phenomenological features distinct enough to differentiate them from basic emotions based solely on bodily sensation or expression. What seems to distinguish them are the cognitive appraisals involved and the contexts ...

Cute “ Gigil ” is a Filipino word that describes an irresistible urge to squeeze something perceived as extremely cute — it’s the intensity of feeling cuteness. When you look at something you find cute , what exactly do you feel?  How does this sensation manifest in you? What does it really mean to say that something is “ cute ”?  Try to trace the beginning of this experience: Does it arise in a specific part of your body? How does it unfold from there? Before moving on to my phenomenological description of this experience, try to discover for yourself how this happens. 〰 Description When I look at something I perceive as very cute , it’s as if the body anticipates the tactile sensation that would be felt when squeezing it. I avoid saying “the brain anticipates” because I have no direct experiential access to the neural processes that make this perception possible, and the aim of this blog is not to provide scientific explanations, but rather experiential ( phenomenological ) ...

When witnessing a funny scene, notice the urge to laugh arising and try to hold it back for a few moments before bursting into laughter . Carefully observe how this urge emerges and what sensations arise before the explosion of laughter . 〰 Description I notice that I assess the situation almost instantly, interpreting it as comical and unexpected.  I feel an involuntary activation of the muscles in my throat, abdomen, and mouth—the latter both expresses laughter and can be used to try to suppress it.  Simultaneously, respiratory changes occur, generating internal air pressure, and the passage of this air creates a "tickling" sensation along a vertical line from the chest to the throat.  When the air is released through laughter, it triggers a succession of trembling expirations.  These vibratory movements propagate through the abdominal region, following the rhythm of the laughter . After a few seconds of intense release, the body begins to relax.  First, the l...