Philosophers and artists consider the relevance of Maurice Merleau-Ponty’s philosophy for understanding art and aesthetic experience. This collection of essays brings together diverse but interrelated perspectives on art and perception based on the philosophy of Maurice Merleau-Ponty. Although Merleau-Ponty focused almost exclusively on painting in his writings on aesthetics, this collection also considers poetry, literary works, theater, and relationships between art and science. In addition to philosophers, the contributors include a painter, a photographer, a musicologist, and an architect. This widened (...) scope offers important philosophical benefits, testing and providing evidence for the empirical applicability of Merleau-Ponty’s aesthetic writings. The central argument is that for Merleau-Ponty the account of perception is also an account of art and vice versa. In the philosopher’s writings, art and perception thus intertwine necessarily rather than contingently such that they can only be distinguished by abstraction. As a result, his account of perception and his account of art are organic, interdependent, and dynamic. The contributors examine various aspects of this intertwining across different artistic media, each ingeniously revealing an original perspective on this intertwining. (shrink)

Borrowing conceptual tools from Bergson, this essay asks after the shift in the temporality of life from Merleau‐Ponty's Phénoménologie de la perception to his later works. Although the Phénoménologie conceives life in terms of the field of presence of bodily action, later texts point to a life of invisible and immemorial dimensionality. By reconsidering Bergson, but also thereby revising his reading of Husserl, Merleau‐Ponty develops a nonserial theory of time in the later works, one that acknowledges the verticality and irreducibility (...) of the past. Life in the flesh relies on unconsciousness or forgetting, on an invisibility that structures its passage. (shrink)

In _The Visible and the Invisible_ Merleau-Ponty develops a notion of ‘sensible ideas’ that conceives general meaning as inseparable from its realization in sensible particulars. Such ideas – exemplified by music – are to capture the specificity of the meaning produced by embodied agency and serve as the foundation of all cognition. This article argues that, although Merleau-Ponty overgeneralizes their application, sensible ideas are philosophically important in enabling better understanding of the diverse forms and functions embodied-embedded practices and cognition can (...) take. It begins by outlining Merleau-Ponty’s conception of sensible ideas and showing how this late ‘ontological’ view takes up and refines themes from his earlier works. It then assesses sensible ideas’ assumed foundational role by considering several embodied practices (mathematics, music, painting), arguing that this does not hold generally and that painting better exemplifies sensible ideas than music. I show that whether a practice is accurately described by sensible ideas depends on how it relates the particular and general, and that sensible ideas have a distinctive philosophical role in understanding the non-identity-based meaning constitution characteristic of some embodied-embedded practices. Finally, a comparison with Kant’s aesthetic ideas is used to clarify the close but non-necessary relation between sensible ideas and art. (shrink)

In The Visible and the Invisible Merleau-Ponty develops a notion of ‘sensible ideas’ that conceives general meaning as inseparable from its realization in sensible particulars. Such ideas – exemplified by music – are to capture the specificity of the meaning produced by embodied agency and serve as the foundation of all cognition. This article argues that, although Merleau-Ponty overgeneralizes their application, sensible ideas are philosophically important in enabling better understanding of the diverse forms and functions embodied-embedded practices and cognition can (...) take. It begins by outlining Merleau-Ponty’s conception of sensible ideas and showing how this late ‘ontological’ view takes up and refines themes from his earlier works. It then assesses sensible ideas’ assumed foundational role by considering several embodied practices (mathematics, music, painting), arguing that this does not hold generally and that painting better exemplifies sensible ideas than music. I show that whether a practice is accurately described by sensible ideas depends on how it relates the particular and general, and that sensible ideas have a distinctive philosophical role in understanding the non-identity-based meaning constitution characteristic of some embodied-embedded practices. Finally, a comparison with Kant’s aesthetic ideas is used to clarify the close but non-necessary relation between sensible ideas and art. (shrink)

Comparo o poeta Charles Baudelaire e o filósofo Maurice Merleau-Ponty como críticos sociais da modernidade a partir do interior da sociedade moderna. Exploro a influência não reconhecida de Baudelaire sobre Merleau-Ponty como uma forma de reler a fenomenologia de Merleau-Ponty. Também examino a poesia de Baudelaire assim como seu ensaio “O pintor da vida moderna”. Embora o ensaio afirme ser uma análise da importância do pintor C. Guys, sustento que pode ser lido como autobiográfico - revelando uma consciência do poeta (...) enquanto crítico social da modernidade. Da mesma maneira, as caracterizações de artistas feitas por Merleau-Ponty revelam muito sobre a sua visão do papel do filósofo como crítico social. Pode-se ler a fenomenologia de Merleau-Ponty como uma arte em vez de como uma ciência das ciências. Finalmente, exploro as implicações políticas dessa fenomenologia baseada na estética. Sustento que há uma profundidade histórica revelada por essa arte fenomenológica do julgamento político que seria negligenciada por qualquer ciência política.I compare poet Charles Baudelaire and philosopher Maurice Merleau-Ponty as social critics of modernity from within modern society. I explore Baudelaire’s unacknowledged influence upon Merleau-Ponty as a means of re-reading Merleau-Ponty’s phenomenology. I examine Baudelaire’s poetry as well as his essay, The Painter of Modern Life. Though the essay claims to be an analysis of the significance of the painter C. Guys, I argue that it can be read as autobiographical - revealing a sense of the poet as social critic of modernity. Likewise, Merleau-Ponty’s accounts of artists reveal a great deal about his own view of the role of the philosopher as social critic. One can read Merleau-Ponty’s phenomenology as an art rather than as a science of sciences. Finally, I explore the political implications of this aesthetic-based phenomenology. I argue that there is an historical depth revealed by this phenomenological art of political judgment that would be neglected by any political science. (shrink)