Philosophers and artists consider the relevance of Maurice Merleau-Ponty’s philosophy for understanding art and aesthetic experience. This collection of essays brings together diverse but interrelated perspectives on art and perception based on the philosophy of Maurice Merleau-Ponty. Although Merleau-Ponty focused almost exclusively on painting in his writings on aesthetics, this collection also considers poetry, literary works, theater, and relationships between art and science. In addition to philosophers, the contributors include a painter, a photographer, a musicologist, and an architect. This widened (...) scope offers important philosophical benefits, testing and providing evidence for the empirical applicability of Merleau-Ponty’s aesthetic writings. The central argument is that for Merleau-Ponty the account of perception is also an account of art and vice versa. In the philosopher’s writings, art and perception thus intertwine necessarily rather than contingently such that they can only be distinguished by abstraction. As a result, his account of perception and his account of art are organic, interdependent, and dynamic. The contributors examine various aspects of this intertwining across different artistic media, each ingeniously revealing an original perspective on this intertwining. (shrink)

. Parsons’ Freud. Cultural Values: Vol. 2, No. 4, pp. 518-532.

Mirror self-experience is re-casted away from the cognitivist interpretation that has dominated discussions on the issue since the establishment of the mirror mark test. Ideas formulated by Merleau-Ponty on mirror self-experience point to the profoundly unsettling encounter with one’s specular double. These ideas, together with developmental evidence are re-visited to provide a new, psychologically and phenomenologically more valid account of mirror self-experience: an experience associated with deep wariness.