This paper aims to clarify Merleau-Ponty’s contribution to an embodied-enactive account of mathematical cognition. I first identify the main points of interest in the current discussions of embodied higher cognition and explain how they relate to Merleau-Ponty and his sources, in particular Husserl’s late works. Subsequently, I explain these convergences in greater detail by more specifically discussing the domains of geometry and algebra and by clarifying the role of gestalt psychology in Merleau-Ponty’s account. Beyond that, I explain how, for Merleau-Ponty, (...) mathematical cognition requires not only the presence and actual manipulation of some concrete perceptible symbols but, more strongly, how it is fundamentally linked to the structural transformation of the concrete configurations of symbolic systems to which these symbols appertain. Furthemore, I fill a gap in the literature by explaining Merleau-Ponty’s claim that these structural transformations are operated through motor intentionality. This makes it possible, in turn, to contrast Merleau-Ponty’s approach to ontologically idealistic and realistic views on mathematical objects. On Merleau-Ponty’s account, mathematical objects are relational entities, that is, gestalts that necessarily imply situated cognizers to whom they afford a specific type of engagement in the world and on whom they depend in their eventual structural transformations. I argue that, by attributing a strongly constitutive role to phenomenal configurations and their motor transformation in mathematical thinking, Merleau-Ponty contributes to clarifying the worldly, historical, and socio-cultural aspects of mathematical truths without compromising what we perceive as their universality, certainty, and necessity. (shrink)

This chapter presents an account of Merleau-Ponty’s interpretation of the body schema as an operative intentionality that is not only opposed to, but also complexly intermingled with, the representation-like grasp of the world and one’s own body, or the body image. The chapter reconstructs Merleau-Ponty’s position primarily based on his preparatory notes for his 1953 lecture ‘The Sensible World and the World of Expression’. Here, Merleau-Ponty elaborates his earlier efforts to show that the body schema is a perceptual ground against (...) which the perceived world stands out as a complex of perceptual figures. The chapter clarifies how Merleau-Ponty’s renewed interpretation of the figure-ground structure makes it possible for him to describe the relationship between body schema and perceptual (body) image as a strictly systematic phenomenon. Subsequently, the chapter shows how Merleau-Ponty understands apraxia, sleep, and perceptual orientation as examples of dedifferentiation and subtler differentiation of the body-schematic system. The last section clarifies how such body-schematic differentiating processes give rise to relatively independent superstructures of vision and symbolic cognition which constitute our body image. It, moreover, explains how, according to Merleau-Ponty, the cognitive superstructures always need to be supported by praxic operative intentionality to maintain their full sense, even though, in some cases, they have the power to compensate for praxic deficiencies. (shrink)

The philosophical problem of pictorial conversational implicatures can be summarized as follows: We have three propositions that are independently plausible and jointly inconsistent. -/- (Non-P) Anti-propositionalism: pictures do not have context-independent, conventionally encoded propositional content (propositional function). -/- (C) Only those representations can be used to convey conversational implicatures which have associated with them a context-independent, conventionally encoded propositional content (function). -/- (I) Pictures can be used to convey conversational implicatures. -/- There are three ways of responding to the problem: (...) affirm (Non-P) and (C) while denying (I); affirm (C) and (I) while denying (Non-P); or affirm (Non-P) and (I) while denying (C). (shrink)

This article aims to establish an understanding of Merleau-Ponty’s view of creative expression, and of its phenomenological function, setting out from the intriguing statement in his essay “Cézanne’s Doubt” that the painter (or writer or philosopher) finds himself in the situation of the first human being trying to express herself. Although the importance of primary or creative expression in Merleau-Ponty’s philosophy is well known, there is no consensus among commentators with respect to how this notion is to be understood, and (...) of its apparently paradoxical relation to experience in his philosophy. On the one hand, Merleau-Ponty seems to presuppose that there is an original meaning pre-given in experience; on the other hand, expression is described as a hazardous enterprise, because the meaning to be expressed does not exist before expression has succeeded. In order to resolve this tension, I explore the significance of the precariousness of creative expression, arguing that it must be related to its other side: the constituted, all too often petrified meaning that we must start out from. (shrink)

Our perception of the world and our relationships with other people are not, I argue, distinct activities. Focusing, first, on Merleau-Ponty’s description in the Phenomenology of Perception of his playful interaction with an infant, and, second, on contemporary research on the phenomena referred to as neonate imitation, joint attention, and mutual gaze, I argue that perception can be a collaborative endeavor. Moreover, this collaborative endeavor, which is definitive of both infant and adult perception, entails trust; our trust in others is (...) not simply a feeling that we perceive but also a way of perceiving. As infants, our trust in others is our perception of the world we share with our caregivers as the world we will also share with others; it is our perception of the world we share with our caregivers as real. As adults, we live our trust in others by perceiving the objects that surround us in ways that protect, rather than damage, the shared worlds that we create in our relationships with them. (shrink)

In a context of pervasive digitalization of the social world, both before and during the COVID-19 pandemic, the field of education has undergone major changes with the development of digital practices and settings. However, the physical presence of the subjects and the body remain something primordial and irreplaceable in traditional educational processes. Thus, it is often assumed that virtuality is opposed to the corporeal reality of the subjects involved in teaching, learning and studying. In this paper we aim to critically (...) challenge this assumption by addressing the phenomenon of virtuality in a more original sense: as a fundamental dimension of corporeality itself. Drawing on Merleau-Ponty’s phenomenological insights, we argue that the experience of the virtual is inherently embodied and fully real. We understand corporeality and virtuality as entangled and multidimensional phenomena. At the same time, this leads us to rethink the digital as only one possible medium in which virtuality can appear as inherent to embodied experience. We develop our phenomenological approach in three instances. First, we question and bracket two common assumptions about corporeality. From our critical perspective, assumptions about a disembodied digitality and a devirtualized corporeality represent extremes within which educational discourses currently move. Second, we address the inherent virtuality of embodied experience. We outline the heuristic concept of the virtual body to describe corporeality and virtuality as entangled and multidimensional phenomena that encompass extension, intercorporeality and intermediality. Finally, we make some remarks on the relationships of corporeality and virtuality considering the challenges of digital education. (shrink)

In light of the central role scientific research plays in Merleau-Ponty’s phenomenology, the question has arisen whether his phenomenology involves some sort of commitment to naturalism or whether it is better understood along transcendental lines. In order to make headway on this issue, I focus specifically on Merleau-Ponty’s method and its relationship to Kant’s transcendental method. On the one hand, I argue that Merleau-Ponty rejects Kant’s method, the ‘method-without-which’, which seeks the a priori conditions of the possibility of experience. On (...) the other hand, I show that this does not amount to a methodological rejection of the transcendental altogether. To the contrary, I claim that Merleau-Ponty offers a new account of the transcendental and a priori that he takes to be the proper subject matter of his phenomenological method, the method of ‘radical reflection’. And I submit that this method has important affinities with aesthetic themes in Kant’s philosophy. (shrink)

Phenomenology’s return to lived experience and “to the things themselves” is often contrasted with the synthesized perspective of science and its “view from nowhere.” The extensive use of neuropsychological case reports in Merleau-Ponty’s Phenomenology of Perception, however, suggests that the relationship between phenomenology and science is more complex than a sheer opposition, and a fruitful one for the praxis of medicine. Here, I propose a new reading of how Merleau-Ponty justifies his use of Adhémar Gelb and Kurt Goldstein’s reports on (...) Johann Schneider for his phenomenology of embodied perception. I argue that for Merleau-Ponty these neuropsychological case reports represent a coherent deformation of the intercorporeally expressed existence of Schneider that through speech fall again onto the common ground of perception, thereby allowing Merleau-Ponty to understand, in the equivalent sense delivered by language, Schneider’s total being and fundamental illness. I then discuss what Merleau-Ponty’s method implies for a phenomenological praxis of medicine, and for the role of science in this praxis. (shrink)

ABSTRACT The aim of this paper is to draw important parallels between the way in which configured pictorial practices of early Cubism interpreted the idea of tactile space and the phenomenological concept of existential spatiality. It is argued that in dispensing with the “illusion of perspectival space” and deconstructing geometrical perspective, several Cubist artists developed a position of multi-perspectival realism with respect to what remains ungraspable in the three-dimensional visual rendering of space. Tactile space is the main theme of early (...) Cubist painting. Tactility remains concealed by linear perspective and three-dimensional space, and existentially primordial tactile space turns out to be the ungraspable which Cubist experiments has to disclose. At the same time, these artists succeeded in avoiding any kind of a reification of space as something that statically embraces what is situated in it. The paper is also preoccupied with Cubist “geometrical experimentation”. The claim is defended that it is precisely this experimentation that most essentially anticipates Heidegger’s analyses of the spatiality of the ready-to-hand and the spatiality of being-in-the-world. Parallels are also drawn with Merleau-Ponty’s spatiality of the perceiving-tactile body which was chiefly focused on the presupposition that the visibility attained through visual perception is imbued with invisibility stemming from the immediate tactility relating the perceiving body and the perceived entities – a presupposition shared by the early Cubists and the French phenomenologist. (shrink)

Animating Maurice Merleau-Ponty’s phenomenological idea of the body as a pre-reflective organizing principle in perception, consciousness and language has become a productive and popular endeavor within philosophy of mind during the last two decades. In this context Merleau-Ponty’s descriptions of an embodied mind has played a central role in the attempts to naturalize phenomenological insights in relation to cognitive science and neuropsychological research. In this dialogue the central role of art and aesthetics in phenomenology has been neglected or at best (...) treated as a peripheral phenomenon. In this article I argue that the failure to place art and aesthetics at the center of thought within phenomenology leads to a neglect of the expressive primacy of the body in movement. In the current naturalization of phenomenology the questions related to expressive movement are often consigned to the notions of motor intentionality or gesture. However, in his book How the Body Shapes the Mind the philosopher Shaun Gallagher interestingly concludes, based on experimental results, that bodily movements of gesture cannot be accounted for by the phenomenologically adapted notions of ‘body image’ and ‘body schema’. Symptomatically, Gallagher ends his chapter on bodily gesture with a section title asking the relevant question that remains unanswered within a phenomenology of mind: Expressive movement from the beginning? The search for an answer to this question points, in my view, to the possibility of a more radical understanding of the embodied mind based on the primacy of expressive experimentation rather than representational experience, which makes the question of art and aesthetics a core issue. Following the image of thought in the philosophy of Gilles Deleuze I argue that art, as the production of sensation through experimentation, presents us with a mode of thinking that accounts for expressive bodily movement as a constitutive force in subjective thought and experience. (shrink)

Resident-to-resident aggression is quite prevalent in long-term care settings. Within popular and empirical accounts, this form of aggression is most commonly attributed to the actions of an aberrant individual living with dementia characterized as the “violent resident.” It is often a medical diagnosis of dementia that is highlighted as the ultimate cause of aggression. This neglects the fact that acts of aggression are influenced by broader structural conditions. This has ethical implications in that the emphasis on individual aberration informs public (...) policy strategies for prevention with a focus on restricting the freedom of individuals using behavioural modification, drugs, or other restraints with the intent to protect others from harm. A more ethical approach requires attention to the structural conditions of long-term care that both foster aggression and constrain prevention efforts. To this end, we turn to a model of relational citizenship that offers a theory of embodied selfhood and relationality as essential to human dignity, thus entailing human rights protections. The application of an ethic based on this model offers a more holistic prevention strategy for resident-to-resident aggression by drawing attention to the critical need and obligation to promote human flourishing through system level efforts. (shrink)

Dance, as aesthetic self-expression, is a unique arts-based program that combines the physical benefits of exercise with psychosocial therapeutic benefits. While dance has also been shown to support empowerment, meaningful self-expression, and pleasurable experience, it is rarely adopted to support these aspects of engagement in the context of dementia care. The instrumental reduction of dance to its application as a therapeutic tool can be traced to the contemporary movement towards cognitive science with an emphasis on embodied cognition. This has effectively (...) elided a consideration of how the body itself, separate and apart from cognition, could be a source of intelligibility, inventiveness, and creativity. We argue for the need to broaden the therapeutic model of dance to more fully support embodied and creative self-expression by persons living with dementia. To achieve this, we explore how a relational model of citizenship that recognizes corporeality and relationality as fundamental to human existence brings a new and critical dimension to understanding the importance of dance in the context of dementia. Drawing on this model, we articulate a new kind of ethic characterized by a pre-reflective intercorporeal sensibility that requires the mobilization of public structures and practices to cultivate a relational environment for individuals living with dementia that supports human flourishing. (shrink)

This paper comprises a feminist phenomenological exploration of women’s experiences with breast augmentation and breast reduction. Situating the results of semi-structured interviews in the context of body schema, this study discloses how women perceive, think, feel and respond to bodily change created by elective breast surgery. Women’s narratives express that breast augmentation and reduction shifted their conception of the lived body and its possibilities by provoking bodily reorientations and adjustments as well as changes in bodily sensations. In contrast with body (...) image studies that emphasize elective breast surgery as transforming attitudes towards the body, this phenomenological investigation reveals that elective breast surgery also galvanizes a relearning of the world and a rearticulation of embodied doing. (shrink)