This paper clarifies Merleau-Ponty’s original account of “higher-order” cognition as fundamentally embodied and enacted. Merleau-Ponty’s philosophy inspired theories that deemphasize overlaps between conceptual knowledge and motor intentionality or, on the contrary, focus exclusively on abstract thought. In contrast, this paper explores the link between Merleau-Ponty’s account of motor intentionality and his interpretations of our capacity to understand and interact productively with cultural symbolic systems. I develop my interpretation based on Merleau-Ponty’s analysis of two neuropathological modifications of motor intentionality, the case (...) of the brain-injured war veteran Schneider, and a neurological disorder known as Gerstmann’s syndrome. Building on my analysis of Schneider’s sensorimotor compensatory performances in relation to his limitations in the domains of algebra, geometry, and language usage, I demonstrate a strong continuity between the sense of embodiment and enaction at all these levels. Based on Merleau-Ponty’s interpretations, I argue that “higher-order” cognition is impaired in Schneider insofar as his injury limits his sensorimotor capacity to dynamically produce comparatively more complex differentiations of any given phenomenal structure. I then show how Merleau-Ponty develops and specifies his interpretation of Schneider’s intellectual difficulties in relation to the ambiguous role of the body, and in particular the hand, in Gerstmann’s syndrome. I explain how Merleau-Ponty defends the idea that sensorimotor and quasi-representational cognition are mutually irreducible, while maintaining that symbol-based cognition is a fundamentally enactive and embodied process. (shrink)

Recognition of the plasticity of development — from gene expression to neuroplasticity — is increasingly undermining the traditional distinction between structure and function, or anatomy and behavior. At the same time, dynamic systems theory — a set of tools and concepts drawn from the physical sciences — has emerged as a way of describing what Maurice Merleau-Ponty calls the “dynamic anatomy” of the living organism. This article surveys and synthesizes dynamic systems models of development from biology, neuroscience, and psychology in (...) order to propose an integrated account of growth, learning, and behavior. Key to this account is the concept of self-differentiation or symmetry-breaking. I argue that development can be understood as a cascade of symmetry-breaking events brought about by the ongoing interactions of multiple, nested, nonlinear dynamic systems whose self-organizing behaviors gradually alter their own anatomical conditions. I begin by introducing the concept of symmetry-breaking as a way of understanding anatomical development. I then extend this approach to motor development by arguing that the organism’s behavior grows along with its body, like a new organ. Finally, I argue that the organism’s behavior and its world grow together dialectically, each driving the other to become more complex and asymmetrical through its own increasing asymmetry. Thus development turns out to be a form of cognition or sense-making, and cognition a form of development. (shrink)

Merleau-Ponty’s appropriation of Gestalt theory in The Structure of Behavior is central to his entire corpus. Yet commentators exhibit little agreement about what lesson is to be learned from his critique, and provide little exegesis of how his argument proceeds. I fill this exegetical gap. I show that the Gestaltist’s fundamental error is to reify forms as transcendent realities, rather than treating them as phenomena of perceptual consciousness. From this, reductivist errors follow. The essay serves not only as a helpful (...) guide through parts of The Structure of Behavior for newcomers, but also offers a corrective to recent trends in philosophy of mind. Such influential commentators as Hubert Dreyfus, Taylor Carmen, and Evan Thompson have, I argue, risked serious misunderstanding of Merleau-Ponty’s view, by mistakenly treating “circular causality” as central to Merleau-Ponty’s own acausal view of forms. -/- [The version archived at Philpapers is closer to the author's preferred format. Formatting requirements in the published version make the section/subsection hierarchy needlessly difficult to follow. There are some changes to content in the published version. Please cite only the published version.]. (shrink)

Since Husserl, the task of developing an account of intentionality and constitution has been central to the phenomenological enterprise. Some of Merleau-Ponty's descriptions of ‘the flesh’ suggest that he gives up on this task, or, more strongly, that the flesh is in principle incompatible with intentionality or constitution. I show that these remarks, as in Merleau-Ponty's earlier writings, refer to the classical, early Husserlian interpretations of these concepts, and argue that the concept of the flesh can plausibly be understood to (...) advance a refined account of intentionality and constitution. Instead of a first-personal, unidirectional act or embodied motor project, intentionality is a latent openness to things, where the roles of subject and object are reversible. Whereas the view of constitution as meaning-bestowal is untenable, the flesh has a constitutive role, which is supported by a ‘constitutional passivity’ from the subject. On this reading, Merleau-Ponty's later work aims to develop basic tenets of his earlier thought, albeit at a critical distance, an attempt he thought was continuous with the central problems that Husserl claimed a phenomenological philosophy must grapple with, even if Merleau-Ponty's answers to these problems are not Husserl's. (shrink)

We take ourselves to have an inner life of thought, and we take ourselves to be capable of linguistically expressing our thoughts to others. But what is the nature of this “inner life” of thought? Is conscious thought necessarily carried out in language? This paper takes up these questions by examining Merleau-Ponty’s theory of expression. For Merleau-Ponty, language expresses thought. Thus it would seem that thought must be independent of, and in some sense prior to, the speech that expresses it. (...) He also claims, however, that thinking just is linguistic expression, and thus that language constitutes thought. The primary aim of this paper is to make sense of this constitutive claim while maintaining that, for Merleau-Ponty, there is an inner life of thought that exists independently of linguistic expression, and that this inner life rightly deserves the label “thought”. The upshot of this account is twofold. First, it explains why the mainstream view of Merleau-Ponty’s theory of expression seems plausible, but is ultimately inadequate. Second, it functions as a corrective to contemporary debates about the nature and scope of phenomenal consciousness and the sense in which conscious experience has content. (shrink)

I will argue here that for many of us the act of dressing our bodies is evidence of intentional expression before different audiences. It is important to appreciate that intentionality enables us to understand how and why we act the way we do. The novel contribution this paper makes to this examination is employing clothing as a means of revealing the characteristics of intentionality. In that, it is rare to identify one exemplar that successfully captures the relationships between the cognitive (...) and physical characteristics of its application. Nevertheless, this paper will not attempt to fully encompass the traditional approaches associated with this concept but instead employ both the early and later writings of French phenomenologist Maurice Merleau‑Ponty and his claim that our lived bodies are an expressive space from which we act intentionally. In other words, that the manner by which we dress our bodies is likely to offer a significant means of revealing the character of intentionality in everyday life and by this, claim that clothing can communicate. Accordingly, this first‑person account closely examines both the cognitive and physical experience of a simple clothing example: ‘what to wear?’ and the experience of an everyday clothing purchase in a store and its subsequent impact when the item of clothing is worn for different audiences. The ensuing discussion systematically examines the significance of marrying Merleau‑Ponty’s writings with this everyday example through private and public audiences and in abstract and public spaces. (shrink)

A central question along which phenomenological approaches to sociality or intersubjectivity have diverged concerns whether concrete interpersonal encounters or sharing a common world is more fundamental in working out an adequate phenomenology of human sociality. On one side we have philosophers such as the early Sartre, Martin Buber, Michael Theunissen, and Emmanuel Levinas, all of whom emphasize, each in his own way, the priority of some mode of interpersonal encounters (broadly construed) in determining the basic character of human coexistence. On (...) the other side, we have philosophers such as the early Heidegger and the early Merleau-Ponty (and here I would also include Gadamer and the later Wittgenstein), who argue that an adequate account of human sociality must begin, in the proper order of understanding and hence explanation, with how we always already exist in a shared or common world. Which side is right in this debate? I argue that once we correctly understand the precise sense (or way) in which the common world is more fundamental than concrete interpersonal encounters, this enables us to understand how there is no real opposition between the phenomenological conception of the common world and the experience of the other, even in its radical otherness. (shrink)

One of the more striking aspects of Maurice Merleau-Ponty's Phenomenology of Perception (1945) is his use of psychological case studies in pathology. For Merleau-Ponty, a philosophical interpretation of phenomena like aphasia and psychic blindness promises to shed light not just on the nature of pathology, but on the nature of human existence more generally. In this paper, I show that although Merleau-Ponty is surely a pioneer in this use of pathology, his work is deeply indebted to an earlier philosophical study (...) of pathology offered by the German Neo-Kantian Ernst Cassirer in the third volume of the Philosophy of Symbolic Forms (1929). More specifically, I argue that Merleau-Ponty, in fact, follows Cassirer in placing Kant's notion of the productive imagination at the centre of his account of pathology and the features of existence it illuminates. Recognizing the debt Merleau-Ponty's account of pathology has to the Kantian tradition not only acts as a corrective to more recent interpretation of Merleau-Ponty's views of pathology (Dreyfus, Romdenh-Romluc), but also recommends we resist the prevailing tendency to treat Merleau-Ponty's philosophy as anti-Kantian. Instead, my interpretation seeks to restore Merleau-Ponty's place within the Kantian tradition. (shrink)

The suffering of nonhuman animals has become a noted factor in deciding public policy and legislative change. Yet, despite this growing concern, skepticism toward such suffering is still surprisingly common. This paper analyzes the merits of the skeptical approach, both in its moderate and extreme forms. In the first part it is claimed that the type of criterion for verification concerning the mental states of other animals posed by skepticism is overly (and, in the case of extreme skepticism, illogically) demanding. (...) Resting on Wittgenstein and Husserl, it is argued that skepticism relies on a misguided epistemology and, thus, that key questions posed by it face the risk of absurdity. In the second part of the paper it is suggested that, instead of skepticism, empathy together with intersubjectivity be adopted. Edith Stein’s take on empathy, along with contemporary findings, are explored, and the claim is made that it is only via these two methods of understanding that the suffering of nonhuman animals can be perceived. (shrink)

In Sein und Zeit Heidegger makes several claims about the nature of ‘assertion’ [Aussage]. These claims are of particular philosophical interest: they illustrate, for example, important points of contact and divergence between Heidegger's work and philosophical movements including Kantianism, the early Analytic tradition and contemporary pragmatism. This article provides a new assessment of one of these claims: that assertion is connected to a ‘present-at-hand’ ontology. I also indicate how my analysis sets the stage for a new reading of Heidegger's further (...) claim that assertion is an explanatorily derivative phenomenon. I begin with a loose overview of Heidegger's position and then develop a sharper formulation of the key premises. I go on to argue that existing treatments of the supposed link between assertion and the ‘present-at-hand’ are unsatisfactory, and advance a new, ‘methodological’, interpretation of that link. Finally, I sketch the implications of my interpretation for the further claim that assertion is explanatorily derivative. (shrink)

In this article, I link the empirical hypothesis that neural representations of sensory stimulation near the body involve a unique motor component to the idea that the perceptual field is structured by skillful bodily activity. The neurophenomenological view that emerges is illuminating in its own right, though it may also have practical consequences. I argue that recent experiments attempting to alter the scope of these near space sensorimotor representations are actually equivocal in what they show. I propose resolving this ambiguity (...) by treating these representations as responsive to the development or degeneration of know-how—which can be isolated as an appropriate object for scientific investigation. (shrink)

Through a discussion of Agnès Varda's career from 1954 to 2008 that focuses particularly on La Pointe Courte (1954), L'Opéra-Mouffe (1958), The Gleaners and I (2000), and The Beaches of Agnes (2008), this article considers the connections between Varda's filmmaking and her femaleness. It proposes that two aspects of Varda's cinema—her particularly perceptive portrayal of a set of geographical locations, and her visual and verbal emphasis on female embodiment—make a feminist existential-phenomenological approach to her films particularly fruitful. Drawing both directly (...) on the work of Maurice Merleau-Ponty and on some recent film- and feminist-theoretical texts that have employed his insights, it explores haptic imagery and feminist strategy in The Gleaners and I, the materialization of space characterizing Varda's blurring of fiction and documentary, and the dialectical relationship of people with their environment often observed in her cinema. It concludes that both Varda's female protagonists and the director herself may be said to perform feminist phenomenology in her films, in their actions, movement, and relationship to space, and in the carnality of voice and vision with which Varda's own subjectivity is registered within her film-texts. (shrink)

How do philosophers and psychologists receive paradigmatic cases from pathology? More specifically, how are some essential features of ‘normal’ cognitive, affective or perceptual functions derived from these pathological cases? In this paper, I argue that Maurice Merleau-Ponty offers a fecund answer to this question by putting forth a logic of supplementation in pathology that distinguishes the coping behavior of the organic world in contrast to an inorganic one. Supplementation, instead of substitution, marks the world of the living, particularly in its (...) higher forms, as it denotes a persistence through impairment governed by an organic norm. A prominent example of this appears in his reading of the patient Schneider case, a classic example from Goldstein and Gelb’s Gestalt psychology. While earlier commentators were interested in underlying whether or not Merleau-Ponty used this example to denote the persistence of a key function or the disruption of another, what has been missed, on my view, is a far more consequential point about pathologies and how they structure our relation to our world. -/- . (shrink)

This paper reflects on the role of philosophy in the school environment, paying special attention to the promise of intergenerational dialogue carried forward by philosophy programmes associated with Lipman’s Philosophy for Children (P4C) curriculum and its current transformation into Philosophy with Children (PwC). There are two basic ideas that constitute the guiding thread of my reflections. Firstly, that philosophical interventions of that kind challenge adult-centric views of education and philosophy. Secondly, that such initiatives carry with them the promise of acknowledging (...) children as equal participants in the process of philosophical questioning and meaning creation. In the first part of the paper, I argue for the importance of understanding the act of philosophizing with children as a disruption of adult-centrism. First, I reflect on a narrow future-directedness that seems to characterize the temporality of school. I suggest that P4wC interventions interrupt such a future-directedness inviting the students to immerse themselves into a dilated ‘now’ of multiple possibilities. Then, I reflect on the ways in which P4wC interventions challenge the assumption that philosophy is an adult preoccupation. Special attention is paid to the work of scholars who challenge our restrictive assumptions about what qualifies as philosophical thinking. In the second part of my paper, I turn to the work of Merleau-Ponty with the aim of sketching out some requirements for the possibility of a dialogue between childhood and adulthood. I suggest that Merleau-Ponty’s reflections on childhood and expressive speech are invaluable in the context of P4wC because they invite us 1) to appreciate the alterity of children without reducing them to inferior ‘others’ and 2) to remain alert to the expressivity of children’s speech. (shrink)

Background: The use of digital technology in higher education is overwhelmingly positively assessed in most recent research literature. While some literature indicates certain challenges in this regard, in general, the emphasis is on an encouragement and promotion of digital technology in higher education. While we recognised the positive potential of the use of digital technology in higher education, we were cautious of an instrumentalist and disembodied understanding of (digital) technology and its potential impact on higher education – as a sector (...) of education and as a body of students. Aim: To re-conceptualise the way in which technology is understood for its use in the higher education sector, as is argued, would be of benefit for transformation in higher education. Setting: South African Higher Education sector. Methods: Phenomenology of embodiment. Results: An embodied understanding of technology through the embodied phenomenology of Merleau-Ponty and an explication of its potential for transformation in higher education via the working concept of the Embodied Screen leads to a full understanding of the student as embodied and socially-embedded individual. Conclusion: A more holistic and embodied understanding of digital technology serves to supplement transformation in higher education, especially if transformation is itself understood in concrete social and bodily terms as is the case in the South African context. (shrink)

The first year of design education is essential for students as it is their initial interaction with the design process. Awareness of the body through dance has the potential to reveal bodily experience in space. Abstraction of embodied experience contributes to realising the significance of the body and its analytical dimension for spatial and structural design. This study investigates the impact of embodied experience and abstraction on the architectural design process and the outcome through correlation and regression analysis. We observed (...) that increasing awareness of the space through bodily movement and its drawn representation positively impacted students’ success in architectural design. Also, the measures related to space and structure mainly advanced students’ success in the final design. However, the association of the abstraction process with the final design remained limited. The study’s contribution is the systematic and statistical evaluation of the relationship between body, movement, abstraction and architectural design by constructing a set of measures from various stages of the design studio. We hope our research will provide a basis for the upcoming discourse. (shrink)

This thesis explores and discusses foundational issues concerning the relationship between phenomenological philosophy and the enactive approach to cognitive science, with the aim of clarifying, developing, and promoting the project of enactive phenomenology. This project is framed by three general ideas: 1) that the sciences of mind need a phenomenological grounding, 2) that the enactive approach is the currently most promising attempt to provide mind science with such a grounding, and 3) that this attempt involves both a naturalization of phenomenology (...) and a phenomenologization of the concept of nature. More specifically, enactive phenomenology is the project of pursuing mutually illuminative exchanges between, on the one hand, phenomenological investigations of the structures of lived experience and embodied existence and, on the other, scientific accounts of mind and life – in particular those framed by theories of biological self-organization. The thesis consists of two parts. Part one is an introductory essay that seeks to clarify some of enactive phenomenology’s overarching philosophical commitments by tracing some of its historical roots. Part two is a compilation of four articles, each of which intervenes in a different contemporary debate relevant to the dissertation’s project. (shrink)

This compilation of references includes all references for the knowledge-how chapters included in Bengson & Moffett's edited volume. The volume and the compilation of references may serve as a good starting point for people who are unfamiliar with the philosophical literature on knowledge-how.

Phenomenology is explored as a way of helping students and educators open up to music as a creative and transformative experience. I begin by introducing a simple exercise in experimental phenomenology involving multi-stable visual phenomena that can be explored without the use of complex terminology. Here, I discuss how the “phenomenological attitude” may foster a deeper appreciation of the structure of consciousness, as well as the central role the body plays in how we experience and form understandings of the worlds (...) we inhabit. I then explore how the phenomenological attitude may serve as a starting point for students and teachers as they begin to reflect on their involvement with music as co-investigators. Here I draw on my teaching practice as a percussion and drum kit instructor, with a special focus on multi-stable musical phenomena. To conclude, I briefly consider how the phenomenological approach might be developed beyond the practice room to examine music’s relationship to the experience of culture, imagination and “self.”. (shrink)

In this paper I explore a series of fertile ambiguities that Merleau-Ponty’s work is premised upon. These ambiguities concern some of the central methodological commitments of his work, in particular his commitment to transcendental phenomenology and how he transforms that tradition, and his relationship to science and philosophical naturalism and what they suggest about his philosophical methodology. Many engagements with Merleau-Ponty’s work that are more ‘analytic’ in orientation either deflate it of its transcendental heritage, or offer a “modest” rendering of (...) its transcendental dimensions. This is also true, albeit perhaps to a lesser extent, of the work of the more empirically-minded phenomenological philosophers who engage very seriously with Merleau-Ponty—e.g. Hubert Dreyfus, Shaun Gallagher, Evan Thompson, Alva Noë, and others. At the same time, many other scholars contest these proto-scientific and more naturalistic uses of Merleau-Ponty’s work on hermeneutical and exegetical grounds, and they likewise criticise the deflated reading of his transcendental phenomenology that tends to support them. By working through some of the key passages and ideas, this paper establishes that the former view captures something pivotal to Merleau-Ponty’s philosophy. I also extend these interpretations by arguing that, at least around the time of Phenomenology of Perception, his philosophy might be reasonably regarded as a form of minimal methodological naturalism. (shrink)

Whether or not Merleau-Ponty’s version of phenomenology should be considered a form of ‘transcendental’ philosophy is open to debate. Although the Phenomenology of Perception presents his position as a transcendental one, many of its features—such as its exploitation of empirical science—might lead to doubt that it can be. This paper considers whether Merleau-Ponty meets what I call the ‘transcendentalist challenge’ of defining and grounding claims of a distinctive transcendental kind. It begins by highlighting three features—the absolute ego, the pure phenomenal (...) field, and the reduction—that Husserl had used to justify claims of a specifically transcendental kind within a phenomenological framework. It then examines how Merleau-Ponty modifies each of these features to focus on the lived body and a factically conditioned phenomenal field, while remaining ambivalent about the reduction. Finally, it assesses whether Merleau-Ponty’s modified position can still legitimately be considered transcendental. I argue that—despite his own rhetoric—this modified position shapes the modality of Merleau-Ponty’s claims in such a way that his phenomenology cannot meet the transcendentalist challenge and therefore should not be considered ‘transcendental.’. (shrink)

This is the most comprehensive book ever published on philosophical methodology. A team of thirty-eight of the world's leading philosophers present original essays on various aspects of how philosophy should be and is done. The first part is devoted to broad traditions and approaches to philosophical methodology. The entries in the second part address topics in philosophical methodology, such as intuitions, conceptual analysis, and transcendental arguments. The third part of the book is devoted to essays about the interconnections between philosophy (...) and neighbouring fields, including those of mathematics, psychology, literature and film, and neuroscience. (shrink)

Students often multitask with technologies such as computers, laptops, tablets and smartphones during class. Unfortunately, numerous empirical studies firmly establish a significant drop in academic performance caused by this media multitasking. In this paper it is argued that cognitive studies may have clarified the negative consequences of this activity, yet they struggle to address the processes involved in it. A cognitive characterization of attention as a mental phenomenon neglects the interaction between bodies and technologies, and it is suggested that a (...) postphenomenological understanding is necessary to account for the materiality of practice. Notions of embodied habits and technical mediation are introduced, and an example of a postphenomenological account of media multitasking is introduced. It is argued that this approach enables researchers to investigate media multitasking as it occurs in everyday educational practice. (shrink)

Merleau-Ponty’s explication of concrete or practical movement by way of the Schneider case could be read as ending up close to automatism, neglecting its flexibility and plasticity in the face of obstacles. It can be contended that he already goes off course in his explication of Schneider’s condition. Rasmus Jensen has argued that he assimilates a normal person’s motor intentionality to the patient’s, thereby generating a vacuity problem. I argue that Schneider’s difficulties with certain movements point to a means of (...) broadening Merleau-Ponty’s account of concrete movement, one that he broaches without exploiting. What could do more work is his recognition of a transposition capacity - and hence of a plasticity - in the healthy body’s skill schema. As well as avoiding vacuity, he could forestall the appearance of a dichotomy between practical coping and creativity. (shrink)

The phenomenological tradition developed sophisticated techniques to draw attention to pre-theoretic or pre-reflective experience. This article examines how one of the most famous, Heidegger’s ‘broken tool’, might work in a pedagogical context. I contend that it can be highly effective there, fleshing out his vision of teaching as ‘letting learn’ with a distinctive educational method. At the same time, that context suggests fundamental changes to the standard reading of the ‘broken tool’, shifting the focus towards what I call ‘information tools’. (...) My conclusions link to recent research stressing disruption in the learning process, and I close by contrasting my position with ‘bricolage’ theories and work by Applebaum and others. (shrink)

Husserl’s phenomenology was particularly influential for a number of French philosophers and their theories. Two of the most prominent French thinkers, Jean-Paul Sartre and Maurice Merleau-Ponty, turned to the instruments offered by phenomenology in their attempts to understand the notions of the body, consciousness, imagination, human being, world and many others. Both philosophers also provided their definitions of perception, but they understood this notion in very different ways. The paper describes selected aspects of Husserl’s phenomenology that were adopted by Sartre (...) and Merleau-Ponty and depicts the presumptions of their respective theories of perception, as well as the differences between them. The main thesis presented here is that theories as different as those proposed by Sartre and Merleau-Ponty may, and indeed do, lead to the same conclusion, i.e. that perception represents a different form of cognition. Despite the differences between these theories, they can both be placed in the contemporary context of phenomenological research carried out by cognitive philosophers Dan Zahavi and Shaun Gallagher, as well as by the proponent of the enactive theory of perception, Alva Noë. (shrink)

For the last decade, reflection has been a major theme in discussions about professional skillfulness and the development of the competence of practitioners such as nurses and teachers. The intellectual pattern that has structured ambitions in relation to reflection is found mainly in Schön’s The Reflective Practitioner and the epistemological turn suggested there. In this text, however, I focus on a dimension that is often forgotten when professional practitioners are conceived of as being reflective, namely, perception. From the framework of (...) Merleau-Ponty, I argue that Schön’s theoretical account is highly problematic and that perception is the key to shaping practitioners’ skillfulness. (shrink)

Several commentators have argued that Husserl's phenomenological project is compromised or even destroyed by Wittgenstein's critical inquiries into our use of psychological concepts. In contrast to oppositional interpretations, this paper explicates certain crucial connections between Husserl's phenomenology and Wittgenstein's late thinking—shared views that concern the embodied nature of selfhood and our relations to other selves. In line with certain recent contributions, I argue that there are important similarities between Husserl's analysis of these phenomena and Wittgenstein's remarks on our use of (...) language and that these connections, when noticed and explicated, can help us avoid simplified, barren contrasts and get clear about our actual philosophical alternatives. (shrink)

ABSTRACTMerleau-Ponty’s Phenomenology of Perception begins with a critique of the philosophical notion of sensation. Even though it is often generally said to be aimed at traditional psychology or empiricism, Merleau-Ponty’s critique is without question also applicable to Husserl’s notion of sensation. The first half of this paper will offer an interpretation of Husserl’s conception of sensation as the stuff of perception and the pregivennesses for all of the Ego’s operations. And then it will attempt to show how Merleau-Ponty’s critique in (...) the Phenomenology of Perception can precisely be viewed as aiming at Husserl. In the end, we should be able to see that Merleau-Ponty’s critique is still relevant today, especially in regard to some recent attempts to put Husserl into the camp of non-representationalism in contemporary philosophy of mind. (shrink)

I distinguish three kinds of other minds problems—conceptual, epistemological and empirical. I argue that while Merleau-Ponty believes embodiment helps with tackling the conceptual and epistemological problems, he suggests that it is of no clear use in solving the empirical problem. I sketch some considerations that could lend support to Merleau-Ponty’s claims about the conceptual and epistemological problems, without claiming that these are conclusive. I then proceed to argue that Merleau-Ponty’s take on the empirical problem is essentially correct.

We ordinarily think that self and other coexist as subjects with mutually exclusive mental lives. The conceptual problem of other minds challenges this common thought by raising doubts that coexistence and mutual exclusivity come together in a coherent idea of others. Existential phenomenology is usually taken to be exempt from skeptical worries of this sort because it conceives of subjects as situated or embodied, offering an inclusive account of coexistence. I submit that this well-entrenched view faces a serious dilemma: either (...) the ordinary distinction between self and other has to be given up, or accounts of situated and embodied coexistence presuppose a non-phenomenological solution to (a close relative of) the conceptual problem of other minds. I then propose a way out for existential phenomenology by sketching a Sartre-inspired phenomenological response to the problem. (shrink)

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)

Drawing on Merleau-Ponty’s “lived body” theory, we argue for a shift towards a lived-experience and body-specific curriculum in South Africa. Such a curriculum would view learning as a lived, embodied, social and culturally contextualised field. Its central aim would be to draw the learner into a plane of consciousness conducive to being awakened to the act of learning through an attitude of full attention. We specifically use the term “body-specific” to imply, as opposed to a one-size-fits-all curriculum model, one in (...) which lived experience and the “body” form the conceptual basis on which the curriculum is built. Consequently, we reject the orthodox cognitive conception of the curriculum which views learning as a mental exercise oriented towards the acquisition of pre-designed knowledge that is “outer fixed” and “inner constructed”. In contrast, we propose that learning should be outwardly constructed through lived experience and inwardly fixed as knowledge develops against the pre-noetic background of the lived world. Underpinning this is the essentially Merleau-Pontian notion that the knowledge we hold originates from our relationships with this world that are embodied in experience, and our engagements within society and culture. The “inner” and “outer” shift in learning infers a switch from pure, disciplinary, homogeneous, expert-led, supply-driven, hierarchical, peer-reviewed and almost exclusively university-based learning to experience-based, applied, problem-centred, trans-disciplinary, heterogeneous, hybrid, demand-driven learning. In such a curriculum, the role of the teacher would be to focus on how the world arranges itself around the learner and to guide learners to see how the world reveals itself to them through their personal lived experience. (shrink)

This text is a reflection in action of an artistic process based on a scientific research. ENSAIO is the choreographic project that resulted from the translation mechanisms of laboratory concepts to a bodily approach, where it proposes a possible mainstreaming of artistic and scientific processes combined. This project joined artistic higher education schools in dance and scenic arts (ESD and FCSH) and Polavieja lab, a neuroscience research lab in Champalimaud Foundation – Center for the Unknown. This text aims to reveal (...) the creative choreographic and performative potentials hidden in this scientific research concerning neurosciences. Identifying cross materials to artistic and scientific processes, it was possible to design a structure of the creation process and the construction of a choreographic performance. The common platform has been found in the process of translation and the definition of the same concept substrate, which made possible the approach of the two instances: studio and laboratory. One of its key features is the promotion of the communication among its agents: scientists and dancers. And the possibility of modelling and absorption from what it comes from this sharing and collaboration. The methods and the choreographic procedures mirrored and promoted this sharing and, therefore, the involvement of the body. Where, the body is the agent able to reflect and trigger this process, a body as an essay that is constantly in research. A body able to coordinate between various media and to expand the reflection on itself. Although science and art are individual instances that inevitably specialise and segregated away. Therefore, this text focuses on examples of cross-thinking of both scientific and artistic cultures, and the articulation of the theoretical and practical bodies in a practice-as-research on the development of the ENSAIO creative process. (shrink)