Beginning from Klee’s statement on truth in self-portraiture that his faces are truer than real ones and Cézanne’s promise to tell us the truth in painting, we consider the origins of truth in art for the philosophy of Merleau-Ponty. We discover that truth in perception, in life, and incarnate existence, as in art, originates from bodily movement. Similar to Heidegger’s argument in “The Origin of the Work of Art,” a truth happens between the work and painter, between the work and (...) viewer, and is not limited to the domain of language, but words and symbols mix together with colors and forms, as in the paintings of Klee. Similar to Husserl’s argument in “The Origin of Geometry,” the originary sense of art, like geometry, is an interweaving of world, intersubjectivity, speech, and writing that achieves a more “militant” truth than mere logical propositions. Truth is marked by its endurance, mobility, agility, subtlety, and depth. These interweavings mean there is no single origin of truth in art and life but a plurality of origins in movement, pleasures, and desires for the becoming of creation. (shrink)

ABSTRACTWhile Lyotard's first book was an introduction to phenomenology, most of the work that follows can be said to openly challenge the limits of phenomenological analysis. This is particularly...

According to the approach developed by Thomas A. Sebeok (1921–2001) and his ‘global semiotics,’ semiosis and life converge. This leads to his cardinal axiom: ‘semiosis is the criterial attribute of life.’ His global approach to sign life presupposes his critique of anthropocentrism and glottocentrism. Global semiotics is open to zoosemiotics, indeed, even more broadly, biosemiotics which extends its gaze to semiosis in the whole living universe to include the realms of macro- and microorganisms. In Sebeok’s conception, the sign science is (...) not only the study of communication in culture, but of communicative behaviour from a biosemiotic perspective. (shrink)

J. H. van 't Hoff's 1874 Dutch pamphlet, in which he proposed the spatial arrangement of atoms in a molecule, is one of the most significant documents in the history of chemistry. This essay presents a new narrative of Van 't Hoff's early life and places the appearance of the pamphlet within the context of the 'second golden age' of Dutch science. We argue that the combination of the reformed educational system in The Netherlands, the emergence of graphical molecular modelling (...) within the theoretical and practical culture of chemistry during the 1860s and 1870s, as well as Van 't Hoff's own personal research trajectory, formed the background to his unprecedented attribution of spatial meaning to the traditional concept of atomic 'arrangement'. We also present a new English translation of the pamphlet, for we have found that the existing translation, published by G. M. Richardson in 1901, contains many errors, changes and omissions. The new version offers a more accurate rendition in English of Van 't Hoff's style and argument. (shrink)

Body image and body schema are two phenomenological concepts which generated a revival of Maurice Merleau-Ponty’s philosophical heritage. In the present text I intend to inquire on the relation between these two concepts and that of Logos of life, another challenging point in the Merleau-Pontyan thought.In order to delineate the correlation between body schema, body image and my understanding of a logic of life, I will first explore how what I term “schematism of the body” is connected to an inherent (...) model of life and living and how this schematism is reflected in the body image. I will turn further to the relation between body and world and highlight how the life of the body defines itself as meaningful in the context of both the surrounding world and the lifeworld. In a third part of my analysis I shall point out how the relation between body schematism and motile intentionality redefines corporeal inten-tionality. I shall conclude by noting the role of the Logos of life, through which corporeity, in its position of meaning project, is instituted as body schematism.Los conceptos fenomenológicos de imagen corporal y esquema corporal han dado lugar a un resurgimiento del legado filosófico de Maurice Merleau-Ponty. En este texto pretendo investigar la relación entre estos dos conceptos y el de Logos de la vida, otro elemento estimulante del pensamiento Merleau-Pontiano.Con el fin de trazar la correlación entre es-quema corporal, imagen corporal y mi interpretación de la lógica de la vida, exploraré en pri-mer lugar cómo el término “esquematismo del cuerpo” está conectado con un modelo inheren-te de vida y de vivir, y cómo este esquematis-mo se refleja en la imagen corporal. Consideraré después la relación entre cuerpo y mundo y remarcaré cómo la vida del cuerpo se define como significativa en el contexto tanto del mundo circundante como del mundo de la vida. En la tercera parte de mi análisis señalaré cómo la relación entre esquematismo corporal e intencionalidad moto-ra redefine la intencionalidad corporal. Concluiré destacando el papel del Logos de la vida, a través del cual la corporeidad, en su posición de proyecto significativo, se instituye como esquematismo corpora. (shrink)

This essay explores the dialogue between Paul Ricoeur and Enrique Dussel on the potential and place of a philosophy of liberation within their respective philosophical commitments. The author suggests that although there is a tension between their different visions of liberation, both thinkers agree on the need to defend the agency of the subject and the subject’s ability to create and recreate institutions in order to live according to the common good by way of respectfully integrating the perspective of the (...) Other. (shrink)