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)

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.

This essay takes up the claim made recently by Simon Critchley in The Companion to Continental Philosophy that a feature common to many philosophers in the Continental tradition is the utopian demand that things be otherwise. The general question I pursue has to do with whether or not such a claim includes movements within Continental philosophy that do not self-identify with the utopian (like critical theory). The particular question has to do with whether or not the movement of phenomenology is (...) utopian or does it, because of its other commitments, view the utopian as the antithesis to its orientation, which makes that claim that phenomenology is utopian seem strange. My thesis is that phenomenology can be seen as a utopian tradition but that some account must be given that demonstrates this connection to the utopian. In particular, I argue that Maurice Merleau-Ponty''s phenomenology provides an understanding of the utopian, which I call a non-conventional view, that is vastly different from the one assumed by most when they see or hear the word utopian, which I label conventional. I show that such a non-conventional understanding can be developed in a way that neither requires us to view the utopian solely as opposed to finitude and contingency, nor a form of thought and action from which we necessarily need to dissociate ourselves. It is this non-conventional view of the utopian that in the end enables us to understand how Continental philosophy in general and phenomenology in particular are important bearers of the utopian demand that things be otherwise. (shrink)

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