The Phenomenologist Perspective of Crime

The phenomenologist perception of crime is very different from the ones proposed by most other criminal theorists; instead of portraying crime as a product of economic and social conditions or even necessity, phenomenology keys in on the more subliminal appeal of the act itself. It points out, in Katz's example, that some shoplifters have been known to throw away stolen items after a successful theft. At times, they do not even enter the store with a particular target in mind. This suggests that the object of the act was not out need or even want of a tangible good, but rather the desire to commit the act itself. It's a viewpoint that challenges the very definition of deviant behavior; according to phenomenology it is not deviant at all, but rather an unconventional way of appealing to a person's very ordinary thirst for thrill.

The theory of Phenomenology with regards to criminology deals with the influence of varying individuals' perception of the world around them on how they choose to act, and how these varying perceptions often become the cause of deviant behavior. Katz offers a beautiful explanation of this theory in the opening pages of Sneaky Thrills; "[Vandalism or pranking] often begins with a markedly deviant air, the excitement of which is due partly to the understanding that the occurrence of theft or vandalism will be left to inspirational circumstance, creative perception, and innovative technique." He suggests that deviancy often begins with an individual or group of individuals romanticizing the act of crime itself, and his theory is supported by popular culture. Films like the popular Ocean's Eleven series portray criminals as quick-witted, fun-loving, robin hood-esque characters who in the end are justified instead of vilified.

In Crimes of Style, Ferrell presents a very different type of criminal from the one the public is used to hearing about. He describes a tightly-knit group of graffiti artists in Denver, led by veterans who have been practicing the art since the early 1980's. While their art is technically criminal, as graffiti is illegal in the city of Denver, they follow a particular moral code by which they feel they are actually improving upon society, as opposed to the conventional criminal who feels the need to withdraw from and cheat the social system. The graffiti artists talk of "beautifying" run down parts of the city, while leaving private property and things with natural aesthetic value, such as parks, untouched. There is even an unspoken rule that one must always purchase the paint used for graffiti, as opposed to stealing it. One artist in particular provided a very thought-provoking insight: "I bought at least 500 cans of spray paint-you work a part time job to support your crime."

This indeed is a very peculiar thing to picture-a deviant who works a legal, legitimate job in order to continue committing a crime that's main purpose is giving back to the community. This perception epitomizes what sets phenomenology apart from other criminal theories; it turns our ideas about crime, criminals, and deviancy upside down.