Presenting the first step-by-step commentary on Husserl’s Ideas I, Marcus Brainard’s Belief and Its Neutralization provides an introduction not only to this central work, but also to the whole of transcendental phenomenology. Brainard offers a clear and lively account of each key element in Ideas I, along with a novel reading of Husserl, one which may well cause scholars to reconsider many long-standing views on his thought, especially on the role of belief, the effect and scope of the epoché, and (...) the significance of the universal neutrality modification. (shrink)

RESUMO Trata o presente artigo de um estudo sobre o modo como Merleau-Ponty busca extrair, da teoria freudiana dos sonhos, consequências ontológicas concernentes à vinculação expressiva entre as diferentes dimensões da experiência onírica, especificamente sobre o papel dos restos diurnos na descarga da libido, na realização do simbolismo ou, o que é a mesma coisa, na conversão do simbolismo em algo narrativo e sensível, especificamente afetivo. Conforme se mostrará, para Merleau-Ponty, seja no sonho sonhado seja no sonho relatado podemos verificar, (...) entre a dimensão imaginária introduzida pelos restos diurnos, por um lado, e a dimensão simbólica expressa como significante esquecido, por outro; uma sorte de unidade sem coincidência, uma indivisão meramente expressiva. A pergunta deste artigo é ‒ do ponto de vista ontológico ‒ de que modo a indivisão expressiva entre o sonhado e o relatado dispensa o recurso à ideia de uma interioridade transparente? ABSTRACT This article deals with a study on how Merleau-Ponty seeks to extract, from Freud’s theory of dreams, ontological consequences concerning the expressive link between the different dimensions of the dream experience, specifically on the role of daytime remains in the discharge of libido, in realization of symbolism or, what is the same thing, in the conversion of symbolism into something narrative and sensitive, specifically affective. As it will be shown, for Merleau-Ponty, whether in the dreamed dream or in the reported dream, we can verify between the imaginary dimension introduced by the daytime remains, on the one hand; and the symbolic dimension expressed as a forgotten signifier, on the other; a sort of unity without coincidence, a merely expressive indivisibility. The question of this article is - from an ontological point of view - how does the expressive division between the dreamed and the reported dispense the recourse to the idea of a transparent interiority? (shrink)

A variety of approaches have appeared in academic literature and in design practice representing “ethics-first” methods. These approaches typically focus on clarifying the normative dimensions of design, or outlining strategies for explicitly incorporating values into design. While this body of literature has developed considerably over the last 20 years, two themes central to the endeavour of ethics and values in design (E + VID) have yet to be systematically discussed in relation to each other: (a) designer agency, and (b) the (...) strength of normative claims informing the design process. To address this gap, we undertook a structured review of leading E + VID approaches and critiques, and classified them according to their positions on normative strength, and views regarding designer agency. We identified 18 distinct approaches and 13 critiques that met the inclusion criteria for our review. Included papers were distributed across the spectrum of views regarding normative strength, and we found that no approaches and only one critique represented a view characteristic of “low” designer agency. We suggest that the absence of “low” designer agency approaches results in the neglect of crucial influences on design as targets of intervention by designers. We conclude with suggestions for future research that might illuminate strategies to achieve ethical design in information mature societies, and argue that without attending to the tensions raised by balancing normatively “strong” visions of the future with limitations imposed on designer agency in corporate-driven design settings, “meaningful” ethical design will continue to encounter challenges in practice. (shrink)

ABSTRACTIn this article I examine Merleau-Ponty’s understanding of the relation between literature, being and perception. I focus especially on two of Merleau-Ponty’s courses at Collège de France:...

Several commentators have argued that with his concept of anonymity Merleau-Ponty breaks away from classical Husserlian phenomenology that is methodologically tied to the first person perspective. Many contemporary commentators see Merleau-Ponty’s discourse on anonymity as a break away from Husserl’s framework that is seen as hopelessly subjectivistic and solipsistic. Some judge and reproach it as a disastrous misunderstanding that leads to a confusion of philosophical and empirical concerns. Both parties agree that Merleau-Ponty’s concepts of anonymity mark a divergence from classical (...) Husserlian phenomenology. I will question this view and demonstrate that Merleau-Ponty’s discourse on anonymity remains Husserlian in two important senses: it analyses senses in terms of constituting selves and communities of such selves, and it accounts for the formation of experience by the temporal sedimentation of intentional activity. The argument proceeds in four steps. The first section argues against the widely spread notion according to which Merleau-Ponty’s anonymous subject is collective. In the second section, I offer an alternative reading by demonstrating that Merleau-Ponty uses the term “anonymous” primarily to characterize the lived body of a personal subject. In section three, I introduce Merleau-Ponty’s idea of trace and show that for him both the perceived thing and the perceiving body are traces and as such refer to earlier constitutive acts of alien subjects. I then argue that Husserl’s concepts of sedimentation are crucial for the understanding of this idea. Finally, in section four, I show how Husserl’s theory of depresentation informs Merleau-Ponty’s discourse on anonymity. (shrink)

Resumen El artículo parte del supuesto que Merleau-Ponty realiza en su filosofía una formulación y caracterización del conocimiento humano. Se explican cuatro notas que dan cuenta, no exhaustiva, de los rasgos centrales de su pensamiento gnoseológico. La característica principal, de la que se desprenden las otras tres notas, es la primacía de la percepción. La segunda nota, que dice relación con la opacidad del conocimiento, se explica tomando una expresión de Bech: “el pensamiento de la no-coincidencia”. La tercera nota corresponde (...) a la interrogación radical y la cuarta se expone a través del concepto de no-filosofía.The article starts from the assumption that Merleau-Ponty, in hisphilosophy, formulates and characteriges human knowledge. Four traits are explained, each of which gives account, in a non-exhaustive way, of hisgnoseological thinking centralfeatures. The main feature, from which emerge the other three, is the primay of perception. The second feature, which is related to the opaaty of knowledge, is explained by Bech ’s expression of “the thought of non-coincidence”. The third feature corresponds to radical interrogation and the fourth is explained through the concept of non-philosophy. (shrink)

In his paper “Whatever next? Predictive brains, situated agents, and the future of cognitive science,” Andy Clark seminally proposed that the brain's job is to predict whatever information is coming “next” on the basis of prior inputs and experiences. Perception fundamentally subserves survival and self-preservation in biological agents, such as humans. Survival however crucially depends on rapid and accurate information processing of what is happening in the here and now. Hence, the term “next” in Clark's seminal formulation must include not (...) only the temporal dimension (i.e., what is perceivednow) but also the spatial dimension (i.e., what is perceivedhereor next-to-my-body). In this paper, we propose to focus on perceptual experiences that happen “next,” i.e., close-to-my-body. This is because perceptual processing of proximal sensory inputs has a key impact on the organism's survival. Specifically, we focus on tactile experiences mediated by the skin and what we will call the “extended skin” or “second skin,” that is, immediate objects/materials that envelop closely to our skin, namely, clothes. We propose that the skin and tactile experiences are not a mere border separating the self and world. Rather, they simultaneously and inherently distinguishandconnect the bodily self to its environment. Hence, these proximal and pervasive tactile experiences can be viewed as a “transparent bridge” intrinsically relating and facilitating exchanges between the self and the physical and social world. We conclude with potential implications of this observation for the case of Depersonalization Disorder, a condition that makes people feel estranged and detached from their self, body, and the world. (shrink)

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)

In this paper, I argue that in spite of suggestions to the contrary, Merleau-Ponty defends a positive account of the kind of abstract thought involved in mathematics and natural science. More specifically, drawing on both the Phenomenology of Perception and his later writings, I show that, for Merleau-Ponty, abstract thought and perception stand in the two-way relation of “foundation,” according to which abstract thought makes what we perceive explicit and determinate, and what we perceive is made to appear by abstract (...) thought. I claim that, on Merleau-Ponty's view, although this process can sometimes lead to falsification, it can also be carried out in such a manner that allows mathematics and natural science to articulate what we perceive in a way that is non-distortive and in keeping with the demands of perception itself. (shrink)