This article reconstructs Gilles Deleuze’s engagement with phenomenology, and with the phenomenological problematic of sensation, in his Francis Bacon: The Logic of Sensation. Considering Deleuze’s adoption, from the phenomenology of art, of notions of sensation and rhythm, it examines how Deleuze complexifies these phenomenological notions by aligning them with his profoundly non-phenomenological notion of the body without organs, as well as with the concepts of modulation and the diagram. In mapping Deleuze’s complexification of rhythm and his development of a logic (...) of rhythmic modulation, this article shows how Deleuze immanently refines an approach to working beyond phenomenology, through phenomenology. (shrink)

In this paper, I will discuss Deleuze’s account of the reversal of Platonism in chapter one of Difference and Repetition, tying it together with Merleau-Ponty’s work on perception. In Difference and Repetition, there are only two references to Merleau-Ponty – one in the note on Heidegger that was added at the insistence of his examiners, and one brief mention in a footnote. Nonetheless, as we shall see, many of the discussions of the origin of representation, as well as the relation (...) of the determinate to the indeterminate in the structure of difference, and the nature of depth, draw heavily on Merleau-Ponty’s work. While there has been some recognition of this influence, I want to draw out some specific points where Deleuze draws on Merleau-Ponty within chapter one of Difference and Repetition. On the other side, as far as I am aware, there is no sustained discussion of Plato in Merleau-Ponty’s work. In showing how Deleuze takes up Merleau-Ponty in his explicit project of reversing Plato, I want to show that the move to a philosophy of the simulacrum is synonymous with Merleau-Ponty’s thesis of the primacy of perception. I will begin by talking about Plato and representation, which ends the chapter, before returning to the beginning of the chapter to look at the nature of difference, then turning to the question of how representation covers over difference. I want to conclude by looking at what Deleuze considers to be the limitations of Merleau-Ponty’s account. (shrink)

Maurice Merleau-Ponty is widely recognized as one of the major figures of twentieth-century philosophy. The recent publication of his lecture courses and posthumous working notes has opened new avenues for both the interpretation of his thought and philosophy in general. These works confirm that, with a surprising premonition, Merleau-Ponty addressed many of the issues that concern philosophy today. With the benefit of this fuller picture of his thought, Merleau-Ponty and Contemporary Philosophy undertakes an assessment of the philosopher's relevance for contemporary (...) thinking. Covering a diverse range of topics, including ontology, epistemology, anthropology, embodiment, animality, politics, language, aesthetics, and art, the editors gather representative voices from North America and Europe, including both Merleau-Ponty specialists and thinkers who have come to the philosopher's work through their own thematic interest. (shrink)

The technological virtual converges with our contemporary existence in a multitude of ways, which suggests a need to interrogate the question of the virtual existentially. Merleau-Ponty’s existential phenomenological account of embodiment is invaluable in this regard because the virtual is encountered from the basis of the facticity of the embodied individual – a facticity that is closely related to perception and motor intentionality. The current article argues that these characteristics of the body-subject should be taken into consideration in order to (...) develop a clearer description of the virtual. However, beyond an embodied account that relates to early technologies, Merleau-Ponty also presents through his concept of the flesh a novel avenue for the ontological investigation of the virtual. The flesh describes the intertwining of the body-subject and the world, which is suggestive of a new account of the individual’s sensibility in relation to the virtual. An original concept is suggested to describe the existential-ontological structure of the virtual: The embodied screen. The embodied screen as neologism presents an alternative conceptualisation of the coincidence of the body-subject (who understands the world spatially) with the virtual (as non-spatial). By tracing imaginative signification and embodied habitude in terms of the virtual, this article suggests certain existential implications of the virtual for contemporary being. (shrink)

Ecology of the Brain: The Phenomenology and Biology of the Embodied Mind joins a growing body of writings which presents a serious and compelling challenge to the neuro-centrism and physicalist reductionism that has been predominant in recent philosophy of mind and in the human sciences. This volume will not only be relevant to researchers interested in the philosophy of mind and the role to be played by the human sciences in this domain, but it will also be a valuable addition (...) to any psychiatric training program. It complements the pioneering work of Karl Jaspers and offers a much needed antidote to the explicit or implicit Cartesianism and physicalist reductionism that still persists in many psychiatric writings, research programs and approaches to clinical practice. As Fuchs alerts, the failure to appreciate the organism’s or individual’s embeddedness in an environment, in a world, has stymied efforts to advance psychiatric theory and practice and we can also say this failure has contributed to the current crisis in legitimacy of psychiatry (Daly and Gallagher, 2019). Despite hopes and ambitions that neuroscience might rescue psychiatry from this crisis, it is increasingly clear that it cannot deliver on this promise as long as researchers and clinicians ignore the life-world (das Umwelt) and neglect the concept of life itself as Fuchs proposes. An ecological approach to understanding the brain is thus crucial so as to address these deficiencies. Fuchs acknowledges the previous articulation of a compatible view in the work of Gregory Bateson’s, Steps to an Ecology of the Mind (1972). While Bateson draws on anthropology and evolutionary theory, Fuchs draws on the resources of phenomenology and neurobiology. Fuchs offers integrated analyses of ideas not only from Bateson, but also from the classic phenomenological sources of Husserl, Jaspers and Merleau-Ponty, and brings these ideas into engagement with current neuroscience, psychological medicine, psychiatric theory and practice. (shrink)

The aim of this paper is to explore Merleau-Ponty’s ambivalent relationship with Kant’s transcendental philosophy. I begin by looking at several points of convergence between Kant and Merleau-Ponty, focusing on the affinities between Kant’s account of transcendental realism and Merleau-Ponty’s notion of objective thought. I then show how Merleau-Ponty’s analysis of Kant’s paradox of asymmetrical objects points to a parallel in Kant’s thought to Merleau-Ponty’s thesis of the primacy of perception. In the second part of the paper, I show why (...) Merleau-Ponty believes that, despite the promise of Kant’s thought, he fails to adequately escape from objective thought. After presenting the central claims of the transcendental deduction, I piece together Merleau-Ponty’s criticism of it by answering three questions: For Merleau-Ponty, how do we encounter the world prior to reflection? How is experience constituted? And what leads Kant to mischaracterise experience in his own transcendental philosophy? (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)

Merleau-Ponty’s later works, especially his 1956–57 lectures on Nature, offer a unique interpretation of Schelling’s philosophy as a whole. His systematic approach towards Schelling enables him to neglect the division of Schelling’s works into an early and a late period. Although his work on Schelling is not fully accurate with respect to the historic details, Merleau-Ponty succeeds in illuminating problems in Schelling’s philosophy that Schelling himself could not solve. The main thesis of my essay is that the two philosophers follow (...) the same agenda: to integrate within philosophy that which withdraws from philosophy, a speculative and “barbaric” principle, which nevertheless manifests itself in reality. By presenting Merleau-Ponty’s reading of Schelling, I show how Merleau-Ponty recognizes that his thoughts on nature have a predecessor in Schelling. However, I also draw on Schelling himself – not only to correct some of Merleau-Ponty’s assumptions, but also to elaborate the problem of an unprethinkable as Schelling develops it in his late philosophy. Lastly, I will comment on how Merleau-Ponty combines Schelling’s early approach – which aims at a complete transcendental philosophy through art – with Schelling’s ultimate approach, which gives an onto-theological theory of philosophy that genuinely cannot be completed. Merleau-Ponty’s psychoanalysis of nature is one attempt to accomplish this. (shrink)

This article proposes a philosophical reception of writer Cormac McCarthy’s work, a reception oriented specifically toward the subject of “place” as a primary ontological register in two of his novels. More than a mere appraisal of his descriptive prose or the moral weight of his themes, this reading examines the interrogative dimension of his border-country landscapes and the existential horizon distilled therein. Read with reference to the philosophies of Martin Heidegger and Maurice Merleau-Ponty, I argue that McCarthy’s storied concentration on (...) place seeks to retrieve the question of primordial givenness from beneath the determinations of epistemic and objectivist judgments. So doing, his orientation parallels and contributes to an important and unsettled tension in phenomenological ontology and its aftermath: the question as to whether poetic or visual modes of ontological “measure-taking” are more appropriate to the question of the meaning, truth, and history of being. Ultimately McCarthy shows us the necessary and productive interplay of both. (shrink)

I argue that there is an affective injustice in gendered and racialized oppression. To account for this, we must deny the opposition of affect and intentionality often assumed in the philosophy of emotion and the affective turn: while affect and intentionality are not opposed in principle, affective intentionality may be refused uptake in oppressive practices. In section 1, I read Merleau‐Ponty’s theory of the body schema as a theory of affect that accommodates my account of affective injustice and aligns with (...) accounts of affect transmission and circulation in feminist philosophies of the affective turn. This is crucial for understanding Fanon’s contribution to the theory of the body schema, in which it is susceptible to historical‐racial “affective disorders.” In sections 2–4, I distinguish three types of affective injustice: affective marginalization, exploitation, and violence. In section 2 I develop an intersectional feminist account of this distinction drawing on Lorde and Lugones and raise questions about the limits of framing the issue of affective injustice in terms of intentionality as opposed to a more psychoanalytic conceptual vocabulary that accommodates the displacement of affective force. In sections 3 and 4, I explore these affective injustices through an analysis of Fanonian concepts, showing how the theory of the body schema can accommodate not only affective intentionality but also the oppressive disjunction of affect and intentionality, as well as forms of affective injustice that exceed the oppressive disabling of sense‐making and involve the exploitative and violent displacement of affective force. (shrink)

Quite a few cognitive scientists are working toward a naturalization of phenomenology. Looking more closely at the relevant literature, however, the ‘naturalizing phenomenology’ proposals show the presence of different conceptions, assumptions, and formalisms, further differentiated by different philosophical and/or scientific concerns. This paper shows that the original Husserlian stance is deeper, clearer and more advanced than most supposed contemporary improvements. The recent achievements of experimental phenomenology show how to ‘naturalize’ phenomenology without destroying the guiding assumptions of phenomenology. The requirements grounding (...) the scientific explanation of subjective experience are discussed, such as the nature of the stimuli, their variables, and their manipulation by properly phenomenological methods. (shrink)

Deleuze’s philosophy of painting can be seen to pose certain challenges to a phenomenological approach to philosophy. While a phenomenological response to Deleuze’s philosophy is clearly needed, I show in this article how an approach taken in a recent paper by Christian Lotz proves inadequate. Lotz argues that through Deleuze’s refusal to accept the place of representation in art, he is unable to distinguish art from decoration, or to give a coherent account of how the content of art can be (...) represented. I show that this criticism emerges from a misreading of the place of representation in Deleuze’s philosophy. I will argue that by failing to take account of some of the key features of Deleuze’s wider ontology, such as the importance of both the virtual and the actual for his analysis of objects, Lotz’s critique proves unsuccessful. In particular, I want to show that Lotz’s criticisms rest on a failure to attend to the systematic nature of Deleuze’s philosophy, and in particular, the place of Deleuze’s analysis of Bacon within the system as a whole. I will further show that Lotz’s phenomenological defence commits the fallacy of petitio principii, assuming the validity of the phenomenological method in order to justify the phenomenological approach. (shrink)

What and how is the work of art? This paper considers Heidegger’s venerable question by way of a related one: what exactly is the essence of the painting? En route to critiquing the Heideggerian conception of the work of art as that which discloses a world, I present Michel Henry’s competing aesthetic theory. According to Henry, the artwork’s task is not to disclose the exteriority of the world, but rather to express the interiority of life’s pathos—what he calls transcendental self-affectivity. (...) To clarify Henry’s view, I examine his analysis of the abstract painting of Kandinsky, after which I illustrate the significance of Kandinsky’s abstractionism by showing how the representational paintings of Paul Signac, Andrew Harrison, Alphonse Osbert, and Henry Ossawa Tanner attempt to express the invisibility of subjectivity. I then reveal how Heidegger’s account of the work of art in terms of world disclosure overlooks the work’s task of exalting life. In closing, I accordingly suggest that Henry’s view of painting—which locates its essence in Life rather than the world—not only presents a competing position to the Heideggerian view of the origin of the work of art worthy of our attention, but one that explains how art can contribute to overcoming our age’s nihilism. (shrink)

The incidence of chronic illness is growing globally. As a result, there are fiscal and social implications for health delivery. Alongside the increased burden on health resources is the expectation that someone within the family will assume the responsibility of carer for those who are chronically ill. The expectation to assume the role of carer may be amplified for family members who are also nurses. Currently, there is little research that investigates the impact of nurses who are carers for family (...) with a chronic illness. Consequently, this qualitative study, based on face‐to‐face and telephone dialogue, was conducted using unstructured interviews. A phenomenological‐hermeneutic approach utilizing the hermeneutic circle was employed to understand the meaning of the transcriptions. Hermeneutic phenomenology inspired by Heideggerian philosophy was used as a framework to clarify themes and build ways of understanding the phenomenon of ‘Being’ a nurse and a family carer. Themes identified in the analysis of the study included a personal world, a professional world and a practical world. This paper explicates the findings from examination of the personal world of ‘Being’ a nurse who is also a family carer. Analysis revealed there were three facets to this way of ‘Being’: a shared experience, a caring experience and a fraught experience. The findings of the study disclosed that participants were informed by experiences that were both enriching and conflicting. These insights can enlighten healthcare professionals to the tensions which exist for nurses who care for family so that these considerations are incorporated into individualized and effective family‐centred care. (shrink)

As a contribution to the burgeoning field of health humanities, this paper seeks to explore the power of dance to mitigate human suffering and reacquaint us with what it means to be human through bringing the embodied practice of dance into dialogue with the work of the French philosopher Maurice Merleau-Ponty. Merleau-Ponty’s conceptualisation of subjectivity as embodied and of intersubjectivity as intercorporeality frees us from many of the constraints of Cartesian thinking and opens up a new way of thinking about (...) how dance functions as a healing art through its ability to ground and reconnect us with self, world, and others--with our humanity. It is argued that through a Merleau-Pontian framework, we can come to appreciate the true potential of dance as a positive and deeply humanising experience, demonstrating how expressive arts practice understood through the lens of philosophical theory can open up new dimensions of understanding and experience in relation to well-being and self- care. (shrink)

In the author’s previous contribution to this journal (Rosen 2015), a phenomenological string theory was proposed based on qualitative topology and hypercomplex numbers. The current paper takes this further by delving into the ancient Chinese origin of phenomenological string theory. First, we discover a connection between the Klein bottle, which is crucial to the theory, and the Ho-t’u, a Chinese number archetype central to Taoist cosmology. The two structures are seen to mirror each other in expressing the psychophysical (phenomenological) action (...) pattern at the heart of microphysics. But tackling the question of quantum gravity requires that a whole family of topological dimensions be brought into play. What we find in engaging with these structures is a closely related family of Taoist forebears that, in concert with their successors, provide a blueprint for cosmic evolution. Whereas conventional string theory accounts for the generation of nature’s fundamental forces via a notion of symmetry breaking that is essentially static and thus unable to explain cosmogony successfully, phenomenological/Taoist string theory entails the dialectical interplay of symmetry and asymmetry inherent in the principle of synsymmetry. This dynamic concept of cosmic change is elaborated on in the three concluding sections of the paper. Here, a detailed analysis of cosmogony is offered, first in terms of the theory of dimensional development and its Taoist (yin-yang) counterpart, then in terms of the evolution of the elemental force particles through cycles of expansion and contraction in a spiraling universe. The paper closes by considering the role of the analyst per se in the further evolution of the cosmos. (shrink)

This paper attempts to clarify Merleau-Ponty’s later work by tracing a hitherto overlooked set of concerns that were of key consequence for the formulation of his ontological research. I argue that his ontology can be understood as a response to a set of problems originating in reflections on the intersubjective use of language in dialogue, undertaken in the early 1950s. His study of dialogue disclosed a structure of meaning-formation and pointed towards a theory of truth (both recurring ontological topics) that (...) post-Phenomenology premises could not account for. A study of dialogue shows that speakers’ positions are interchangeable, that speaking subjects are active and passive in varying degrees, and that the intentional roles of subjects and objects are liable to shift or ‘transgress’ themselves. These observations anticipate the concepts of ‘reversibility’ and ‘narcissism’, his later view of activity and passivity, and his later view of intentionality, and sharpened the need to adopt an intersubjective focus in ontological research. (shrink)

In this thesis we construct a critical encounter between the composer John Cage and the philosopher Gilles Deleuze. This encounter circulates through a constellation of problems found across and between mid-twentieth century musical, artistic, and philosophical practices, the central focus for our line of enquiry being the concept of experimentation. We emphasize the production of a method of experimentation through a practice historically situated with regards to the traditions of the respective fields of music and philosophy. However, we argue that (...) these experimental practices are not reducible to their historical traditions, but rather, by adopting what we term a problematic reading, or transcendental critique, with regards to historical givens, they take their historical situation as the site of an experimental departure. We follow Cage through his relation to the history of Western classical music, his contemporaries in the musical avant-garde, and artistic movements surrounding and in some respects stemming from Cage’s work, and Deleuze through his relation to Kant, phenomenology, and structuralism, in order to map the production of a practice of experimentation spanning music, art, and philosophy. Some specific figures we engage with in these respective traditions include Jean-Phillipe Rameau, Pierre Schaeffer, Marcel Duchamp, Pierre Boulez, Robert Morris, Yoko Ono, La Monte Young, Edmund Husserl, Maurice-Merleau-Ponty, Alain Badiou, and Félix Guattari. In so doing we seek to find between these practices points of both conjunction and disjunction which enrich our understanding of Cage’s and Deleuze’s work, and, more widely speaking, of the passage of twentieth century music and philosophy in general. Here we hope to make contributions to the fields of continental philosophy and music theory especially, and to open a point of engagement with the nascent field of sound studies. (shrink)

In the last decades, the rapid growth of functional brain imaging methodologies allowed cognitive neuroscience to address open questions in philosophy and the social sciences. At the same time, novel insights from cognitive neuroscience research have begun to influence various disciplines, leading to a turn to cognition and emotion in the fields of planning and architectural design. Since 2003, the Academy of Neuroscience for Architecture has been supporting ‘neuro-architecture’ as a way to connect neuroscience and the study of behavioral responses (...) to the built environment. Among the many topics related to multisensory perceptual integration and embodiment, the concept of hapticity was recently introduced, suggesting a pivotal role of touch and haptic imagery in architectural appraisal. Arguments have thus risen in favor of the existence of shared cognitive foundations between hapticity and the supramodal functional architecture of the human brain. Precisely, supramodality refers to the functional feature of defined brain regions to process and represent specific information content in a more abstract way, independently of the sensory modality conveying such information to the brain. Here we highlight some commonalities and differences between the concepts of hapticity and supramodality according to the distinctive perspectives of architecture and cognitive neuroscience. This comparison and connection between these two different approaches may lead to novel observations in regard to people-environment relationships, and even provide empirical foundations for a renewed evidence-based design theory. (shrink)

According to Heidegger's Being and Time, social relations are constitutive of the core features of human agency. On this view, which I call a ‘strong conception’ of sociality, the core features of human agency cannot obtain in an individual subject independently of social relations to others. I explain the strong conception of sociality captured by Heidegger's underdeveloped notion of ‘being-with’ by reconstructing Heidegger's critique of the ‘weak conception’ of sociality characteristic of Kant's theory of agency. According to a weak conception, (...) sociality is a mere aggregation of individual subjects and the core features of human agency are built into each individual mind. The weak conception of sociality remains today widely taken for granted. I show that Christine Korsgaard, one of the most creative contemporary appropriators of Kant, operates with a weak conception of sociality and that this produces a problematic explanatory deficiency in her view: she is unable to explain the peculiar motivational efficacy of shared social norms. Heidegger's view is tailor made to explain this phenomenon. I end by sketching how Heidegger provides a social explanation of a major systematic concern animating Korsgaard, the concern with the importance of individual autonomy and answerability in human life. (shrink)

_Philosophers consider race and racism from the perspective of lived, bodily experience._.

Through an exploration of theoretical physics, this paper suggests the need for regrounding natural science in phenomenological philosophy. To begin, the philosophical roots of the prevailing scientific paradigm are traced to the thinking of Plato, Descartes, and Newton. The crisis in modern science is then investigated, tracking developments in physics, science's premier discipline. Einsteinian special relativity is interpreted as a response to the threat of discontinuity implied by the Michelson-Morley experiment, a challenge to classical objectivism that Einstein sought to counteract. (...) We see that Einstein's efforts to banish discontinuity ultimately fall into the “black hole” predicted in his general theory of relativity. The unavoidable discontinuity that haunts Einstein's theory is also central to quantum mechanics. Here too the attempt has been made to manage discontinuity, only to have this strategy thwarted in the end by the intractable problem of quantum gravity. The irrepressible discontinuity manifested in the phenomena of modern physics proves to be linked to a merging of subject and object that flies in the face of Cartesian philosophy. To accommodate these radically non-classical phenomena, a new philosophical foundation is called for: phenomenology. Phenomenological philosophy is elaborated through Merleau-Ponty's concept of depth and is then brought into focus for use in theoretical physics via qualitative work with topology and hypercomplex numbers. In the final part of this paper, a detailed summary is offered of the specific application of topological phenomenology to quantum gravity that was systematically articulated in The Self-Evolving Cosmos (Rosen 2008a). (shrink)

_ Source: _Volume 45, Issue 3, pp 369 - 385 In “The Vestige of Art,” Jean-Luc Nancy argues that art is neither representation nor inscription, but rather _exscription_. The figure is the vestige of an expressive gesture; it represents neither a separable idea nor the one who traced it but, rather _exscribes_ their presence and their world in the event of expression. As such, Nancy’s aesthetics in _The Muses_ deploys a certain logic of expression best understood in the tradition of (...) Merleau-Pontian phenomenology. Echoing Merleau-Ponty’s notion of speech accomplishing, rather than translating, thought, Nancy’s understanding of the expressive gesture suggests an event that brings forth a self that does not pre-exist its expression and that is paradoxically always already past, always already fallen into material vestiges. By connecting Merleau-Ponty’s notion of a “past that has never been present” to Nancy’s concept of _exscription_, I argue that reading Nancy’s _The Muses_ and Merleau-Ponty’s “Eye and Mind” together suggests an importantly restructured “phenomenology” of painting that is in fact more of an ontology of intercorporeality. (shrink)

Phenomenally strong artworks have the potential to anchor us in reality and to cultivate our perception. For the most part, we barely notice the world around us, as we are too often elsewhere, texting, coordinating schedules, planning ahead, navigating what needs to be done. This is the level of our age that shapes the ways we encounter things and others. In such a world it is no wonder we no longer trust our senses. But as feminists have long argued, thinking (...) grounded in embodied experience can be more open to difference; such embodied thinking helps us to resist the colonization of a singular, only seemingly neutral, perspective that closes down living potentialities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“An Equivocal Couple Overwhelmed by Life”A Phenomenological Analysis of PregnancySara HeinämaaTwo conceptions of human generativity prevail in contemporary feminist philosophy. First, several contributors argue that the experience of pregnancy, when analyzed by phenomenological tools, undermines several distinctions that are central to Western philosophy, most importantly the subject-object distinction and the self-other and own-alien distinctions. This line of argument was already outlined by Iris Marion Young in her influential essay (...) “Pregnant Embodiment: Subjectivity and Alienation” (1984). The other dominant argument is related to the first one, and it states that organic birth is the event that establishes the first experiential separation between the self and the other. On this understanding, the mother-fetus relation would not involve any relations between two corporeal selves; all such relations would be postnatal. This notion has been defended, for example, by Christine Schües (1997; 2000) and Johanna Oksala (2003).1On the other hand, classical phenomenology is dominated by the idea that the rigorous first-person methodology that is essential to phenomenology dictates that the sense of birth must be studied primarily by reflection on the structures of our own recollection or memory. Consequently, the primary sense of human birth would be that of an unattainable limit. This is argued on the basis of the existential fact that we all are born but cannot recall our own birth, or else on the basis of the transcendental fact that the structure [End Page 31] of retention ties each living present to an earlier one and implies that the transcendental ego cannot be subject to generation.2 From this perspective, all analyses and reflections of the experiences of labor, gestation, and pregnancy would be secondary since the sense of birth that these experiences involve is the nativity of another human being and not the nativity of the reflecting self.This paper challenges both the feminist and the classical phenomenological approach. I maintain that careful phenomenological analyses of the experience of pregnancy undermine both notions. Such analyses show, on the one hand, that pregnancy does not imply a nondistinction or self-other fusion but on the contrary involves a specific self-other divide. At the same time, they demonstrate that the sense of birth is more complex than the classical recollection-paradigm suggests and that it includes more components than the signification of an unattainable limit. A proper phenomenology of birth must take into account not only the universal fact that we all are born, but also the equally universal fact that each of us is born from another human being, that is, some other human subject.3 This other human being who “gave” us birth or “from whose flesh we were born” provides us with a unique perspective on our own past, beyond the limits of our own recollection. Her perspective is incomparable to any other external perspective; rather than simply giving us an additional third-person viewpoint on our own organic birth, this one person is able to open a second-person perspective on our pre- and postnatal life and the transition between them—all of which is beyond our own recollection.My argument proceeds by the following steps:First, I develop a fresh discourse on the experience of pregnancy, by studying a set of remarks to be found in Julia Kristeva’s postphenomenological discourse on maternity, on the one hand, and in Simone de Beauvoir’s existential-phenomenological discourse on feminine embodiment, on the other hand. I use these remarks as leading clues for a novel phenomenological study of the experience of pregnancy.4 Contra Young’s influential account mentioned above, I argue that gestation, as experienced by women who live it in the first person, includes a separation between two sensory-motor beings in a nesting relation: the pregnant self and the embryonic other. The alternative account that I provide hinges on my analysis of the experience of fetal movements and the role of touch-sensations and kinesthetic sensations in such experiences. Ultimately, I argue that pregnancy does not erode the self-other boundary or the own-alien boundary but reestablishes both divisions.Second, I compare my account of the experience of pregnancy to Merleau... (shrink)

Do cinematic representations of the natural world only put us in further remove from nature? A phenomenological approach shows that nature screened can produce a richer understanding of human–nature relations as these unfold in visual contact. If vision accesses the world in a unique relationship of sight, in which our contact with the world is defined by vision prior to any other interaction, the cinema offers a special setting for a phenomenology that seeks to draw-out the significance of human relations (...) with the world of nature that come before utility or action. A detailed analysis of the opening sequence of Terrence Malick’s The New World demonstrates how the act of viewing positions the viewer in relation to what she sees. This position, prior to action and with the impossibility to act is seen here as an ethical position, a position of responsibility in the Levinasian sense. Merleau-Ponty’s phenomenology of vision is put here to use alongside the hermeneutic phenomenology of Heidegger and the existential responsibility of Levinas, while subverting Levinas’ anthropocentrism and rejecting Heidegger’s limiting view of technology. The approach taken in this essay, of bringing phenomenology into productive and reflexive interaction with ecology and with film is dubbed an “eco-film-phenomenology.”. (shrink)

This paper asks how perception becomes racializing and seeks the means for its critical interruption. My aim is not only to understand the recalcitrant and limitative temporal structure of racializing habits of seeing, but also to uncover the possibilities within perception for a critical awareness and destabilization of this structure. Reading Henri Bergson and Maurice Merleau-Ponty in dialogue with Frantz Fanon, Iris Marion Young and race-critical feminism, I locate in hesitation the phenomenological moment where habits of seeing can be internally (...) fractured. Hesitation, I claim, makes visible the exclusionary logic of racializing and objectifying perception, countering its affective closure and opening it to critical transformation. (shrink)

Empirical research in the psychology of nature appreciation suggests that humans across cultures tend to evaluate nature in positive aesthetic terms, including a sense of beauty and awe. They also frequently engage in joint attention with other persons, whereby they are jointly aware of sharing attention to the same event or object. This paper examines how, from a natural theological perspective, delight in natural beauty can be conceptualized as a way of joining attention to creation. Drawing on an analogy between (...) art and creation, we propose that aesthetic appreciation of nature may provide theists with a unique phenomenological insight into God's creative intentions, which are embodied in the physical beauty of creation. We suggest two directions in which this way of looking at the natural world can be fleshed out: in a spontaneous way, that does not take into account background information, and with the help of science. (shrink)

In this special issue on animals and aesthetics, contributors explore encounters with animals in art and thought.

Barresi & Moore provide an impressive account of how the coordination of first and third person information about the self and other could produce an account of intentional relations. They are less explicit as to how the child comes to understand the basic epistemic relation between experience and knowledge, that is, how informational access causes belief. We suggest one route.

Barresi & Moore's “intentional schema” will not do the work of “theory of mind.” Their model will account neither for fundamental facts of social competence, such as the social attributions of the 10-month-old infant, nor the possibility that, though having a theory of mind, the chimpanzee's theory is “weaker” than the human's.

Although the scientific method has reached deeply into our intellectual and social life, there are places where it stops short, where its limitations become evident to us all. In these cases we discover that science can go about its explanations in its usual way, but that it does not tell us anything very interesting, and especially not what we most want to know. Let us think of music and painting, drama and ballet. No doubt a scientific method can tell us (...) something about them, but nothing very important or enlightening, perhaps something about their acoustical or chromatic materials, or some sort of evolutionary background. The scientists who try to go further than that in their explanations of the arts have earned a reputation for being reductionist in the bad sense. It is also my view that the incompetence of science becomes evident when it is applied to the interpretation of law and religion, love and many other forms of human aspiration -- but I shall not argue that point here. For what I hope to show is that the study of an elementary, fundamental human experience, seeing, is best pursued by certain philosophical methods that are not what we call scientific. The same applies to hearing. Many scientific studies have been made of seeing and hearing, but in my view they have not succeeded in the way that philosophy has in revealing the true character of these experiences. I shall devote the first two sections of this paper to outlining one philosophical approach to seeing that I regard as successful -- an approach I develop by working through key sections of Heidegger's Being and Time -- and then, in the concluding section, I point to the defects that I believe mark the approach of psychology and cognitive science. (shrink)

Since John Locke, regnant conceptions of personhood in Western philosophy have focused on individual capabilities for complex forms of consciousness that involve cognition such as the capability to remember past events and one’s own past actions, to think about and identify oneself as oneself, and/or to reason. Conceptions of personhood such as Locke's qualify as cognition-oriented, and they often fail to acknowledge the role of embodiment for personhood. This article offers an alternative conception of personhood from within the tradition of (...) phenomenology of the body. The article presents a phenomenological analysis of joint musical activity in dementia care and outlines an intercorporeal conception of personhood based on this analysis. It also provides a philosophical basis for the idea that others can hold us in personhood, and it questions a strict one-body-one-person logic that has pertained in much personhood debate. (shrink)

The Asian American identity is intimately associated with upward class mobility as the model minority, yet women's earnings remain less than men's, and Asian American women are perceived to have strong family ties binding them to domestic responsibilities. As such, the exact class status of Asian American women is unclear. The immediate association of this ethnic identity with a specific class as demonstrated by the recently released Pew study that Asian Americans are “the highest-income, best-educated” ethnicity contrasts with another study (...) that finds Asian American women have the highest suicide rates in the United States. To understand these contrasting statistics, this article explores Asian American women's sense of authenticity. If the individual's sense of authenticity is intimately related with one's group identity, the association of the Asian American identity with a particular class ambivalently ensnares her as dichotomously inauthentic—as both the poor Asian American woman who fails to achieve economic upward mobility and the model minority Asian American woman who engages in assimilation practices. Feminist philosophers understand that identities change, but exactly how these transformations occur remains a mystery. The article ends with three speculations on the difficulties for practicing and recognizing individual acts that transform one's group identity. (shrink)

This paper explores the ethical insights provided by Anne Truitt's minimalist sculptures, as viewed through the phenomenological lenses of Hannah Arendt's investigations into the co-constitution of reality and Maurice Merleau-Ponty's investigations into perception. Artworks in their material presence can lay out new ways of relating and perceiving. Truitt's works accomplish this task by revealing the interactive motion of our embodied relations and how material objects can actually help to ground our reality and hence human potentiality. Merleau-Ponty shows how our prereflective (...) bodies allow incompossible perceptions to coexist. Yet this same capacity of bodies to gather multiple perceptions together also lends itself to the illusion that we see from only one perspective. If an ethical perspective becomes reified into one position, it then becomes detached from reality, and the ethical potential is actually lost. At the same time, phenomenologically understood, the real world does not exist in terms of static matter, but is instead a web of contextual relations and meanings. An ethics that does not take embodied relations into account—that allows for only one perspective—ultimately loses its capacity for flexibility, and for being part of a common and shared reality. (shrink)

In an effort to reassess the status of Phenomenology of Perception and its relation to The Visible and the Invisible, this essay argues that Merleau-Ponty's engagement with Husserl's text and his discussion of the “field of presence” in La temporalité are intended to think through the field in which time makes its appearance as one of passage. Time does not show itself as presence or in the present but manifests itself as Ablauf, as lapse or flow, an écoulement that is (...) simultaneously an explosion, an éclatement. Merleau-Ponty's account of temporality in these pages is thus legible as recovering the primordial experience of time as a self-differentiating déhiscence in its dual power of articulation and erosion. Time is thus simultaneously the vehicle of the world's appearance and of its “disarticulation”, the passage of a rhythm of affirmation and disintegration. Merleau-Ponty's account of temporality in Phenomenology of Perception is oblique, somewhat fragmentary and circuitous.11 References to Merleau-Ponty's works cite the French followed by the English translation. I will use the abbreviation PhP for Phenomenology of Perception and VI for The Visible and the Invisible. Other texts by Merleau-Ponty will be referenced by the title. References to Husserl and Heidegger use the German followed by the translation. I will use the abbreviations ZB for the Zeitbewußtsein lectures; FT for Formale und transzendentale Logik; EU for Erfahrung und Urteil; and SZ for Sein und Zeit. View all notes While of course this phenomenon comes under close scrutiny in La temporalité, a brief inspection of this text as a whole finds it to be virtually everywhere.22 The theme of temporality is introduced as early as the Preface to Part I, “Experience and Objective Thought” and appears again in almost every subsequent chapter: the first chapter of Part I ; in his discussion on number blindness and Goldstein's patient known as Schneider in La spatialité du corps et la motricité ; in the sexuality chapter ; in the discussion of memory in La corps comme expression et la parole ; in Le sentir ; in the discussion of depth in L'espace ; in La chose et le monde naturel ; in Autrui et le monde humain and in Le cogito. Rather than providing the perhaps much called for synopsis of these scattered accounts of time or trying to locate a unified account in Phenomenology of Perception through such a synopsis, this essay will focus only on La temporalité, particularly the discussion of Husserl's diagram from the Zeitbewußtsein and the “champ de présence”. View all notes It is this apparent ubiquity that will motivate scholars such as Renaud Barbaras to claim that “… the entire structure of Phenomenology of Perception rests on a chapter devoted to temporality”.33 Barbaras The Being of the Phenomenon, 218. View all notes In spite of this ubiquity and apparent centrality, however, the treatment of temporality seems to neglect a systematic and thoroughgoing approach, and whether this work manages to address this theme with a sufficient degree of rigor remains open to debate. Furthermore, beyond the scattered and fragmented appearance of temporality in the text, the chapter devoted to its exploration contains numerous, well-recognized problems.44 Merleau-Ponty's misinterpretation of Bergson in this chapter has received much warranted attention. Alia Al-Saji, for example, has criticized Merleau-Ponty's account of temporality in this chapter of Phenomenology of Perception for this misreading as well as its perhaps too uncritical infatuation with Husserl and his emphasis on presence. See Lawlor Thinking Through French Philosophy, Al-Saji “The Temporality of Life” and “A Past Which Has Never Been Present” and Barbaras “The Turn of Experience”. View all notes Among these difficulties, Merleau-Ponty's engagement with Husserl's lectures on time-consciousness, the Vorlesungen zur Phänomenologie des inneren Zeitbewußtseins,55 The 1928 publication of the Zeitbewußtsein, edited by Heidegger, is what appears in the bibliography of Phenomenology of Perception. This version, from the Jahrbuch für Philosophie und phänomenologishe Forschung, as Brough notes, appears as “Part A” of Husserliana X. The notes that constitute this version of the text, furthermore, as Heidegger mentions in his preface to the Jahrbuch version and which Brough repeats were heavily edited by Husserl's assistant at the time, Edith Stein. Merleau-Ponty's references to the Zeitbewußtsein cut across various moments of the text and do not focus on one section in particular, and in fact, he actually references section 11, “Urimpression und retentionale Modifikation”/“Primal impression and retentional modification” in his discussion of the field of presence. As Al-Saji has noted, the extent to which Merleau-Ponty's account of time in La temporalité centres the account of time on “the living present” can be shown to be at play behind the misreading of Bergson. While I do not wish to dispute the specifics of her compelling reading, it is nonetheless worth noting that Al-Saji's reading of the Zeitbewußtsein only focuses on Appendix V, “Gleichzeitigkeit von Wahrnehmung und Wahrgenommenem”/“Simultaneity of Perception and the Perceived”. View all notes looms large, as it seems that his discussion of what he designates as le champ de présence or “field of presence” commits him to the ontological primacy of the present in his account of time. As a result, this earlier work appears to confine itself to a metaphysics organized around the privilege and authority of the present in establishing the structure of time.66 Leonard Lawlor has convincingly argued against this interpretation. Following the famous remark at the end of Le Sentir about “a past which has never been present”, Lawlor argues that precisely because Merleau-Ponty's critique of Bergson is a straw man – that is, because his critique of Bergson is based on a misreading – a closer inspection of Le Sentir and La temporalité shows Merleau-Ponty to be committed to the ontological primacy of an “originary” past. See Lawlor Thinking Through French Philosophy, 89. Marratto, following Lawlor, takes up the charge of a metaphysics of presence in Phenomenology of Perception in dialogue with Derrida. Marratto argues that Derrida's reading selectively overlooks “the very imporant dimensions of difference, discontinuity, and delay and non-self-presence in Merleau-Ponty's descriptions”, located particularly in the latter's theory of subjectivity. I agree with Marratto's assessment, and my aim here is to deepen it by turning in more detail to La temporalité. View all notes This apparent commitment to the ontological primacy of the present, for some readers, has also functioned as an index for tracking the revision of Phenomenology of Perception that is said to figure in The Visible and the Invisible, where a metaphysics of the present is replaced with a commitment to the primacy of an original past, signalling a significant break in the development of Merleau-Ponty's thought.77 This has bearing on the debate mentioned above as the question of temporality and Merleau-Ponty's evolving relationship with Bergson are also cited as part of the index for tracking the differences between Phenomenology of Perception and The Visible and the Invisible. What we see, according to this reading, is Merleau-Ponty move away from a more strictly phenomenological orientation of Phenomenology of Perception, an orientation that is said to adversely mediate his early, critical stance with respect to Bergson, toward a progressively less Husserlian and more Bergsonian stance in The Visible and the Invisible. While he does not specifically address Merleau-Ponty's engagement with Bergson, Marratto's reading also places a special emphasis on the significance of the past, specifically Merleau-Ponty's reference to a “past which has never been present”. It is also not my intention to enter into the question of Merleau-Ponty's relationship with Bergson. Rather, I will restrict my remarks specifically to Merleau-Ponty's engagement with Husserl and the Zeitbewußtsein in La temporalité in order to show that there are grounds for at least questioning one of the premises of the interpretation mentioned above, namely that Phenomenology of Perception is unequivocally legible as committed to the ontological primacy of the present. As will become clear later in the essay, I also dispute interpretations that would place the emphasis on the ontological primacy of an original past. For my own views on the significance of a “past which has never been present”, see Whitmoyer “The Primary Silence of the Past”. View all notes In considering the manner in which the Zeitbewußtsein figures in La temporalité and Merleau-Ponty's discussion of the field of presence, it will do to think about the parameters in which his engagement with Husserl is staged more generally. It seems that Merleau-Ponty never considered his task in terms of the perhaps false alternative of fidelity and heresy, because “any commemoration is also a betrayal”, and because the task of the interpreter is, as he famously notes, thinking through that “unthought-of element … which is wholly his [Husserl's] and yet opens out on something else”.88 Merleau-Ponty, Signes, 203/160. This methodological dictum is developed in more detail in the notes to the course offered on Husserl's Origin of Geometry in 1959–1960. “We are saying not that Husserl was that, but that Husserl was not only what they say, was also another, bearer of an unthought”. View all notes Following Merleau-Ponty's own indications, we could suggest that Husserl's text, rather than a source of orthodoxy, functions as a point of orientation through which Merleau-Ponty marks out his own theory of temporality.99 I will not, therefore, address the question of the “accuracy” of his interpretation of Husserl because, according to Merleau-Ponty himself, this question presupposes that the author, in this case Husserl, has a privileged access to his thought, as if there is some kernel or essence of what a philosopher thought that interpreters can either get right or wrong. As the remarks in “The Philosopher and His Shadow” make clear, interpretation can never really avail itself of this presupposition and in this manner the question of accuracy is precisely the wrong question. View all notes This essay argues that his discussion of the Zeitbewußtsein in Phenomenology of Perception does not offer an account of time that “centers around the living present”, as some have argued,1010 Al-Saji “A Past Which Has Never Been Present”, 42–44. View all notes but that the discussion of the field of presence and what follows are rather intended to account for the field of temporal phenomenalization – not as a presence – but as écoulement, passage and flux. Time, therefore, does not appear in the present or as presence, but manifests itself as a flow and movement that is simultaneously an éclatement, an eruption, and a self-differentiating “dehiscence”.1111 A favorite word of Merleau-Ponty, borrowed from botany, where it designates the splitting open of a seed-pod or flower as well as medicine, where it refers to the splitting open of a healed or partially healed wound. The idea here is that, in its flow and passage, time splits open in a process of differentiation – which is simultaneously a process of degeneration, decay, and what Merleau-Ponty will term in The Visible and the Invisible, “disarticulation”. View all notes Time's passage is not determined, organized and oriented in advance in accordance with a transcendental synthesis that would give it shape and form, privileging one temporal dimension over another, so much as it is understood in terms of a splitting open, or to use another favoured locution of Merleau-Ponty, a “deflagration”.1212 In Eye and Mind, Merleau-Ponty speaks of the “deflagration of being”. Metaphors of explosiveness and dissonance populate his attempt to think being otherwise than as structure, form, and stability. Here I will focus particularly on écoulement, flux and éclatement, eruption, because these are the terms he uses in his discussion of time in La temporalité. See Merleau-Ponty L’Œil et l'esprit, 64/369. View all notes To this extent, Merleau-Ponty's account of temporality in Phenomenology of Perception cannot be said to orient itself in terms of the ontological primacy of any one temporal dimension – past, present, or future – but is more accurately understood as an attempt to recover the primordial experience of time as the simultaneity of écoulement and éclatement – an account that thinks time in its dual power of phenomenalization and erosion, the “pulse [pulsation] of my existence, its systole and diastole”.1313 Merleau-Ponty PhP, 337/332. View all notes Time is the vehicle of the world's appearance, and at the same time of its “disarticulation” [désarticulation],1414 This is a term Merleau-Ponty uses in The Visible and the Invisible in a well-known working note entitled “ Transcendence – forgetting – time”. See Merleau-Ponty VI, 247/197. View all notes the vehicle through which “becoming” – rather than being – shows itself. This process of phenomenalization, precisely because it is temporal, never achieves the density of fully realized being – the sense of this becoming is never fully articulate – but is perpetually subject to a temporal erasure that necessitates its repetition and reiteration. Time, in other words, is the principle of the world's eloquence – it is that thanks to which things have and make sense and simultaneously the principle of the world's murmuring stutter, the principle through which the sense of things remains incomplete and even erodes, decays, and degenerates. To begin, I will turn to Merleau-Ponty's reading of Husserl's diagram from the Zeitbewußtsein, which opens his attempt to “arrive at authentic time”.1515 Merleau-Ponty PhP, 477/483. View all notes Rather than simply rehearsing Husserl's discussion of primal impression, retention and protention, Merleau-Ponty's analysis of the diagram provides an opportunity for raising two problems: the problem of time's representability and the problem of its synthesis. Rather than through an “act intentionality” carried out by a transcendental subjectivity, time appears in accordance with an “operative intentionality” always already under way. Turning to the section of La temporalité aptly entitled “Passive Synthesis”, we see that Merleau-Ponty's analysis of the diagram leads him to the paradox of passive synthesis and what he calls, following Husserl, “transition synthesis”. Time does not show itself punctually – time appears neither as presence nor in the present – but only in the dual movement of its flux, its écoulement, and its éclatement, its explosive, self-differentiating unfurling. These reflections, finally, bring Merleau-Ponty into dialogue with Heidegger on what the latter called the Zusammenhang des Lebens. The “unity of a life”, accordingly, is not a question of any “resolution”, but is a function of our immersion in this temporal dehiscence. The important lesson to be learned from Merleau-Ponty's engagement with Husserl's Zeitbewußtsein is not something about the ontological primacy of one temporal dimension over another but what Merleau-Ponty famously calls in The Visible and the Invisible the “passivity of our activity”1616 Merleau-Ponty VI, 270/221. View all notes and our immersion in time's power of disarticulation. (shrink)

This article clarifies Merleau-Ponty’s enigmatic, later concept of reversibility by showing how it is connected to the theme of the genesis of sense. The article first traces reversibility through “Eye and Mind” and The Visible and the Invisible , in ways that link reversibility to a theme of the earlier philosophy, namely an interrelation in which activity and passivity reverse to one another. This linkage is deepened through a detailed study of a passage on touch in the Phenomenology ’s chapter (...) on “Sensing,” which shows how reversibility is important to the genesis of sense, not from some already given origin, but through a creative operation within being, beyond the perceiver, wherein the field of perception internally diverges into active and passive moments. The article connects this point about the genesis of sense to themes in Merleau-Ponty’s lectures on institution and passivity. Altogether the article shows how reversibility is a sign of a divergence and thence of a sort of gap or excess in being that allows for a genesis of sense within being itself. (shrink)

Drawing on Merleau-Ponty’s “Eye and Mind” and Bergson’s Matière et mémoire and “La perception du changement,” I ask what resources are available in vision for interrupting objectifying habits of seeing. While both Bergson and Merleau-Ponty locate the possibility of seeing differently in the figure of the painter, I develop by means of their texts, and in dialogue with Iris Marion Young’s work, a more general phenomenology of hesitation that grounds what I am calling “critical-ethical vision.” Hesitation, I argue, stems from (...) affect and leads to critical memory. In hesitation, the seeming coincidence between my habits of seeing and the visible is decentered, revealing these habits and their social reference as the constitutive horizon of my field of vision. Hesitation, then, provides the phenomenological moment within which vision may become at once critically watchful, destabilizing its objectifying habits, and ethically responsive, recollecting its affective grounds. The critical and the ethical are here inseparable. Critically, this vision is an awareness of the structures of invisibility, diacritical and habitual, social and historical, to which my vision owes—dimensions which institute particular ways of seeing and being as norm while eliding others. Ethically, this is the recognition of how seeing is already seeing with others—others whose affective influence is operative within vision, even as their existence is reductively represented or denied. (shrink)

This paper bridges art history and consciousness studies and investigates the network of gazes and frames in Las Meninas and how this engages with a system of higher-order thoughts and reflexive operations.

This paper studies the role of faces in animal life to gain insight into Merleau-Ponty's philosophy, especially his later ontology. The relation between animal faces and moving, animal bodies involves a peculiar, expressive logic. This logic echoes the physiognomic structure of perception that Merleau-Ponty detects in his earlier philosophy, and exemplifies and clarifies a logic elemental to his later ontology, especially to his concept of an invisible that is of (endogenous to) the visible. The question why the logic of the (...) face can manifest this analogy or homology with the logic of perception and ontology is treated through a study of embryology, which suggests that the logic of the face ramifies a deeper logic of being. Methodologically, the face is taken as something like a lens into the onto-logic of being. This lens suggests that what underlies Merleau-Ponty's later ontology is a logic of animality. (shrink)

Earthbodies describes how our bodies are open circuits to a sensual magic and planetary care that when closed off leads to disastrous detours, such as illness, ...

In The Principles of Art, R. G. Collingwood pursues, on the one hand, a ‘definition’ of art, and, on the other, a ‘metaphysics’. The Principles is divided into three Books. Book I is devoted mostly to craft, while Book II pertains largely to metaphysics. The fact that Book II is twice the size of Book III, where the discussion of ‘art proper’ takes place, is proof enough that the metaphysical part of the Principles is not a mere excursus. Collingwood’s ontology (...) is indispensable for understanding his aesthetics, and vice versa. The crucial link is the imagination. What Collingwood calls ‘total imaginative experience’ is described in the Principles as the sine qua non of both thought and sensibility. The aim of this article is to examine the ontological import of Collingwood’s conception of the total imagination. (shrink)

This article addresses the portrait as a philosophical form of art. Portraits seek to render the subjective objectively visible. In portraiture two fundamental aims come into conflict: the revelatory aim of faithfulness to the subject, and the creative aim of artistic expression. In the first part of my paper, studying works by Rembrandt, I develop a typology of four different things that can be meant when speaking of an image’s power to show a person: accuracy, testimony of presence, emotional characterization, (...) or revelation of the essential “air” (to use Roland Barthes’ term). In the second half of my paper this typology is applied to examples from painting and photography to explore how the two media might differ. I argue that, despite photography’s alleged ‘realism’ and ‘transparency,’ it allows for artistic portraiture and presents the same basic conflict between portraiture’s two aims, the revelatory and the expressive. (shrink)

According to commentators like Rosalind Krauss, Briony Fer, Caroline Jones, and Michael Fried, Clement Greenberg’s formalist/positivist device of “medium-specificity” debars errant affective aesthetic experiences that are embodied; despite significant differences in how these theorists arrive at this conclusion, one shared point of emphasis is Greenberg’s inheriting Kant’s disinterested conception of pleasure in reflective judgments of beauty. Offering a textualist review of Kant’s Analytic of the Beautiful, I seek to demonstrate that neither Greenberg, nor Greenberg’s critics, are correct in their account (...) of Kant’s judgments of beauty.1 Specifically, I argue that Greenberg conflates Kant’s conception of judgments of free beauty (pulchritudo vaga) with merely adherent beauty (pulchritudo adhaerens). In formulating a rejoinder to Greenberg and the misplacement of Greenberg as a Kantian, and following Diarmuid Costello, I hope to save a path for a Kantian aesthetics of the present, much in the spirit of other broadly Kantian art historians and philosophers of art/aesthetics (e.g., Thierry de Duve, Paul Guyer, Ido Geiger, etc.). (shrink)

Journal of Philosophy of Education, Volume 54, Issue 5, Page 1278-1305, October 2020.