A distinctive feature of Merleau-Ponty’s thought is the central role he assigns style in generally characterizing embodied agents’ perceptual and cognitive functioning. Despite this, he says little to explain how he conceives style itself. This article therefore aims to clarify Merleau-Ponty’s notion of style and its significance within and beyond his work. It begins by surveying his broad application of the term and using his discussions of painting to reconstruct his conception of style, identifying two major roles Merleau-Ponty attributes it (...) in unifying intentional structures and founding conceptual meaning. His view is related to several competing philosophical conceptions of style to highlight its distinctiveness and some conceptual difficulties in adequately defining style. I then argue that Merleau-Ponty succeeds in coherently distinguishing style from rules by recognizing that style conceives pattern formation, especially the relation of general and particular, in a way contrasting with the identity-based thinking inherent in the functioning of rules. With this distinction I conclude that, although Merleau-Ponty overgeneralizes its role, his conception of style has broader philosophical significance in accurately capturing the nonmechanical cohesion of certain embodied intelligent activities (such as painting) and enabling better understanding of the variety of forms such activities can take. (shrink)

This paper aims to map out the links between style and science. Two moments mark the migration of style from the discursive field of the arts to that of the history and philosophy of science: the first occurred in the German-speaking world during the first decades of the twentieth century; the second appeared in an Anglo-American context between the late 1970s and the early 1990s, when the category of style became involved in the so-called “pluralist turn” in the history and (...) philosophy of science. Taking this framework as its point of departure, the paper uncovers neglected contributions to the epistemology of style in order to foreground the concept of style as both a vector of inclusion (highlighting the plurality, historicity, and locality of scientific ways of knowing) and of exclusion (by generalizing the most correct ways of doing science and side-lining alternative ways of knowing). (shrink)

I argue that there are no irrational visual experiences, if we mean just the experiences that one is having now, but there are irrational visual experiences, if we mean also the experiences that one has had in the past. In other words, I will be arguing that perceptual irrationality is a retrospective phenomenon. So as to further support the first conjunct of my thesis, and to contextualize it among contemporary discussions, I also critique Susanna Siegel’s proposal that one could be (...) having an irrational experience, in the sense of a hijacked experience that has inherited a sub-threshold epistemic charge from a corrupt outlook. The present discussion is conducted from a Husserlian point of view, according to which perception is rational, rather than arational. I am, however, in this paper, not undertaking to defend the Husserlian view or the rationality of perception, or even to argue that the view I refer to as Husserlian is, in all aspects, the view that Edmund Husserl actually held. I aim merely to provide certain clarifications concerning the more specific topic of irrational visual experiences. (shrink)

I argue that there are no irrational visual experiences, if we mean just the experiences that one is having now, but there are irrational visual experiences, if we mean also the experiences that one has had in the past. In other words, I will be arguing that perceptual irrationality is a retrospective phenomenon. So as to further support the first conjunct of my thesis, and to contextualize it among contemporary discussions, I also critique Susanna Siegel’s proposal that one could be (...) having an irrational experience, in the sense of a hijacked experience that has inherited a sub-threshold epistemic charge from a corrupt outlook. The present discussion is conducted from a Husserlian point of view, according to which perception is rational, rather than arational. I am, however, in this paper, not undertaking to defend the Husserlian view or the rationality of perception, or even to argue that the view I refer to as Husserlian is, in all aspects, the view that Edmund Husserl actually held. I aim merely to provide certain clarifications concerning the more specific topic of irrational visual experiences. (shrink)

This paper offers a new philosophical account of vocations as deeply personal but at the same time also communal and generational forms of multimodal intending. It provides a reconstruction and a systematic development of Edmund Husserl’s scattered discussions on vocations. On these grounds, the paper argues that vocational life is a general human possibility and not determined by any set of material values, religious, epistemic or moral. Rather, vocations are distinguished from other complexes of intentional acts and attitudes by certain (...) structural features of their core valuations and volitions. (shrink)

ABSTRACTThe distinction between minimal self and narrative self has gained ground in recent discussions of selfhood. In this article, this distinction is reassessed by analysing Zahavi and Gallagher’s account of selfhood and supplementing it with Husserl’s concept of person. I argue that Zahavi and Gallagher offer two compatible and complementary notions of self. Nevertheless, the relationship between minimal self and narrative self requires further clarification. Especially the embeddedness of self, the interplay between passivity and activity, and the problems of uniqueness (...) and persistence are better understood with Husserl’s analysis of person and its central concepts of position-taking, habitualities, and overall style. The embeddedness of self is elucidated by outlining how person is related to its environment, to other people, and to its past. This relational notion of self is both passively constituted and actively shaped: person mediates between minimal self characterized by perspectival ownership... (shrink)

In a discussion of the constitutive role of colour in our visual perceptual experiences, Wilhelm Schapp centrally argues that we cannot visually perceive certain distant things, like a house seen far down in the valley. My main contention is that, in cases relevantly similar to Schapp’s, we do perceptually experience distant things, viz., as drastically “decayed” things, which are part of distant scenes. In doing so, we adopt towards them a kind of conservative “attitude.” The ideas of decay and scenicness (...) will be unpacked in terms of the Husserlian ideas of fulfilment, and fulfilment conditions, capturing the idea that we perceptually experience objects in terms of anticipated possibilities for further experiences of these objects. These ideas will also be considered in relation to Herbert Leyendecker’s notion of an attitude, e.g., of observing, searching for, or working with objects. (shrink)

This article examines the philosophical role of illness. It briefly surveys the philosophical role accorded to illness in the history of philosophy and explains why illness merits such a role. It suggests that illness modifies, and thus sheds light on, normal experience, revealing its ordinary and therefore overlooked structure. Illness also provides an opportunity for reflection by performing a kind of suspension (epoché) of previously held beliefs, including tacit beliefs. The article argues that these characteristics warrant a philosophical role for (...) illness. While the performance of most philosophical procedures is volitional and theoretical, however, illness is uninvited and threatening, throwing the ill person into anxiety and uncertainty. As such it can be viewed as a radical philosophical motivation that can profoundly alter our outlook. The article suggests that illness can change the ways in which we philosophise: it may shape philosophical methods and concerns and change one's sense of salience and conception of philosophy. (shrink)

In this paper, I wish to explore whether and how emotions build on a state of being motivated that is linked to character and requires the positive contribution of habit. Drawing on phenomenological accounts of motivation, I argue that the relation between emotions and character depends on the institution of an emotional space, which is responsible for our sensitivity to the values of the felt situation and yet it is open to changes and revisions.

Résumé Cet article aborde la pertinence de l'art vidéo et des techniques filmiques pour la méthode phénoménologique en thématisant comment les scènes au ralenti peuvent être utilisées dans l'analyse des gestes. Inspiré par la théorie de la conscience d'image d'Edmund Husserl, je soutiens que si, pour le chercheur empirique, le ralenti est un moment non analogique qui l'aide à observer le sujet existant, pour le phénoménologue, il dépeint un sujet neutralisé qui sert d'exemple initial. Cette approche révèle en plus une (...) forme spécifique de déception de nos schémas d'anticipation passivement constitués concernant le rythme d'interaction gestuelle. (shrink)

ABSTRACTThe aim of this article is to sketch a phenomenological theory of political institutions and to apply it to some objections and questions raised by Pierre Manent about the project of the European Union and more specifically the question of “European Construction”, i.e. what is the aim of the European Project. Such a theory of political institutions is nested within a broader phenomenological account of institutions, dimensions of which I have tried to elaborate elsewhere. As a working conceptual delineation, we (...) can describe institutions as stable meaning structures. As such, the definition encompasses phenomena like the European Commission, Belgium, marriage, the Dollar, the Labour Party, but also political subjects themselves. In order to develop said theory of institutions, I will draw primarily upon resources in the work of Maurice Merleau-Ponty and John Searle. (shrink)