Describes the changing sounds of the rain, the slow soft sprinkle, the drip-drop tinkle, the sounding pounding roaring rain, and the fresh wet silent after-time of rain.

First published in 1945, Maurice Merleau-Ponty’s monumental _Phénoménologie de la perception _signalled the arrival of a major new philosophical and intellectual voice in post-war Europe. Breaking with the prevailing picture of existentialism and phenomenology at the time, it has become one of the landmark works of twentieth-century thought. This new translation, the first for over fifty years, makes this classic work of philosophy available to a new generation of readers. _Phenomenology of Perception _stands in the great phenomenological tradition of Husserl, (...) Heidegger, and Sartre. Yet Merleau-Ponty’s contribution is decisive, as he brings this tradition and other philosophical predecessors, particularly Descartes and Kant, to confront a neglected dimension of our experience: the lived body and the phenomenal world. Charting a bold course between the reductionism of science on the one hand and "intellectualism" on the other, Merleau-Ponty argues that we should regard the body not as a mere biological or physical unit, but as the body which structures one’s situation and experience within the world. Merleau-Ponty enriches his classic work with engaging studies of famous cases in the history of psychology and neurology as well as phenomena that continue to draw our attention, such as phantom limb syndrome, synaesthesia, and hallucination. This new translation includes many helpful features such as the reintroduction of Merleau-Ponty’s discursive Table of Contents as subtitles into the body of the text, a comprehensive Translator’s Introduction to its main themes, essential notes explaining key terms of translation, an extensive Index, and an important updating of Merleau-Ponty’s references to now available English translations. Also included is a new foreword by Taylor Carman and an introduction to Merleau-Ponty_ _by Claude Lefort. Translated by Donald A. Landes. (shrink)

How the Body Shapes the Mind is an interdisciplinary work that addresses philosophical questions by appealing to evidence found in experimental psychology, neuroscience, studies of pathologies, and developmental psychology. There is a growing consensus across these disciplines that the contribution of embodiment to cognition is inescapable. Because this insight has been developed across a variety of disciplines, however, there is still a need to develop a common vocabulary that is capable of integrating discussions of brain mechanisms in neuroscience, behavioural expressions (...) in psychology, design concerns in artificial intelligence and robotics, and debates about embodied experience in the phenomenology and philosophy of mind. Shaun Gallagher's book aims to contribute to the formulation of that common vocabulary and to develop a conceptual framework that will avoid both the overly reductionistic approaches that explain everything in terms of bottom-up neuronal mechanisms, and inflationistic approaches that explain everything in terms of Cartesian, top-down cognitive states. Gallagher pursues two basic sets of questions. The first set consists of questions about the phenomenal aspects of the structure of experience, and specifically the relatively regular and constant features that we find in the content of our experience. If throughout conscious experience there is a constant reference to one's own body, even if this is a recessive or marginal awareness, then that reference constitutes a structural feature of the phenomenal field of consciousness, part of a framework that is likely to determine or influence all other aspects of experience. The second set of questions concerns aspects of the structure of experience that are more hidden, those that may be more difficult to get at because they happen before we know it. They do not normally enter into the content of experience in an explicit way, and are often inaccessible to reflective consciousness. To what extent, and in what ways, are consciousness and cognitive processes, which include experiences related to perception, memory, imagination, belief, judgement, and so forth, shaped or structured by the fact that they are embodied in this way? (shrink)

Deleuze and Guattari differentiate between philosophy, science, and the arts - seeing each as a means of confronting chaos - and challenge the common view that philosophy is an extension of logic. The authors also discuss the similarities and distinctions between creative and philosophical writing. Fresh anecdotes from the history of philosophy illuminate this book, along with engaging discussions of composers, painters, writers, and architects.

Continuing the posthumous editions of the manuscripts of Maurice Merleau-Ponty started in 1964, we publish the preparation notes for the courses of the College of France of 1959 and 1961. Each of these courses questions in a different way the philosophical exercise. How is philosophy possible today after the phenomenological enterprise? In the course of 1959, Merleau-Ponty presented a study by Husserl and Heidegger. It shows the contributions but also the limits. In addition, he has recourse to the interpretation of (...) the philosophy developed by Hegel and Marx, and his gesture is also given as a work of self-interpretation. The reading he suggests of Descartes makes the different levels of his approach sensitive. It seemed interesting to us to associate with his course notes the first writing of the chapter “Interrogation and intuition” of the Visible and the invisible which is in great affinity with the problems approached in these courses. This draft of the Visible and the Invisible, abandoned by Merleau-Ponty, makes it possible to mark the difference in style from the preparation notes which, as Claude Lefort writes, “do not exactly constitute a writing”. Rather, they offer food for thought to continue to question the philosopher's thinking. (shrink)

What makes this work so important is that it returned the body to the forefront of philosophy for the first time since Plato.

Of fundamental importance to literary critics and philosophers, Difference and Repetition develops two central concepts -- pure difference and complex ...

Provides a short introduction to Kant, emphasizing Kant's own view of his philosophy. Deleuze offers an overview of the whole of Kant's critical philosophy.

This talk, delivered at De l''autopoièse à la neurophénoménologie: un hommage à Francisco Varela; from autopoiesis to neurophenomenology: a tribute to Francisco Varela, June 18–20, at the Sorbonne in Paris, explicates several links between Varela''s neurophenomenology and his biological concept of autopoiesis.

The Embodied Mind provides a unique, sophisticated treatment of the spontaneous and reflective dimension of human experience.

This expanded second edition carries forward the initial insights into the biological and existential significances of animation by taking contemporary research findings in cognitive science and philosophy and in neuroscience into critical and constructive account. It first takes affectivity as its focal point, elucidating it within both an enactive and qualitative affective-kinetic dynamic. It follows through with a thoroughgoing interdisciplinary inquiry into movement from three perspectives: mind, brain, and the conceptually reciprocal realities of receptivity and responsivity as set forth in (...) phenomenology and evolutionary biology, respectively. It ends with a substantive afterword on kinesthesia, pointing up the incontrovertible significance of the faculty to cognition and affectivity. Series A. (shrink)

In recent years more and more people have started talking about the necessity ofreconciliating phenomenology with the project of naturalization. Is it possible to bridge the gap between phenomenological analyses and naturalipossible to naturalize phenomenology? In their long introduction to the book NaturalizingPhenomenology published by Stanford University Press in 1999, the four coPetitot, Francisco Varela, Bernard Pachoud might be seen as a kind of manifesto for this new approach. An examination of this introduction is consequently a good starting point for (...) a discussion of the issue. (shrink)

The Phenomenological Mind is the first book to properly introduce fundamental questions about the mind from the perspective of phenomenology. Key questions and topics covered include: What is phenomenology? naturalizing phenomenology and the empirical cognitive sciences phenomenology and consciousness consciousness and self-consciousness, including perception and action time and consciousness, including William James intentionality the embodied mind action knowledge of other minds situated and extended minds phenomenology and personal identity Interesting and important examples are used throughout, including phantom limb syndrome, blindsight (...) and self-disorders in schizophrenia, making The Phenomenological Mind an ideal introduction to key concepts in phenomenology, cognitive science and philosophy of mind. (shrink)

Introduction -- A concept of bodies politic -- Above, below, and alongside the subject -- Bodies politic -- Bodies politic as organisms -- The organism in Aristotle and Kant -- The anorganic body in Deleuze and Guattari -- Love, rage, and fear -- Terri Schiavo : the somatic body politic -- The Columbine High School massacre : the transverse body politic -- Hurricane Katrina : the governmental body politic -- Conclusion.

Empirical studies of gesture in a subject who has lost proprioception and the sense of touch from the neck down show that specific aspects of gesture remain normal despite abnormal motor processes for instrumental movement. The experiments suggest that gesture, as a linguistic phenomenon, is not reducible to instrumental movement. They also support and extend claims made by Merleau-Ponty concerning the relationship between language and cognition. Gesture, as language, contributes to the accomplishment of thought.

Praised for its rare combination of scholarly rigor and imaginative interpretation, _Nietzsche and Philosophy_ has long been recognized as one of the most important analyses of Nietzsche. It is also one of the best introductions to Deleuze's thought, establishing many of his central philosophical positions. In _Nietzsche and Philosophy_, Deleuze identifies and explores three crucial concepts in Nietzschean thought-multiplicity, becoming, and affirmation-and clarifies Nietzsche's views regarding the will to power, eternal return, nihilism, and difference. For Deleuze, Nietzsche challenged conventional philosophical (...) ideas and provided a means of escape from Hegel's dialectical thinking, which had come to dominate French philosophy. He also offered a path toward a politics of difference. In this new edition, Michael Hardt's foreword examines the profound influence of Deleuze's provocative interpretations on the study of Nietzsche, which opened a whole new avenue in postwar thought. (shrink)

Suggests an open system of psychological exploration to cut through accepted norms of morality, language, and politics.

Translated and with an Introduction by Daniel W. Smith Afterword by Tom Conley Gilles Deleuze had several paintings by Francis Bacon hanging in his Paris apartment, and the painter’s method and style as well as his motifs of seriality, difference, and repetition influenced Deleuze’s work. This first English translation shows us one of the most original and important French philosophers of the twentieth century in intimate confrontation with one of that century’s most original and important painters. In considering Bacon, Deleuze (...) offers implicit and explicit insights into the origins and development of his own philosophical and aesthetic ideas, ideas that represent a turning point in his intellectual trajectory. First published in French in 1981, _Francis Bacon_ has come to be recognized as one of Deleuze’s most significant texts in aesthetics. Anticipating his work on cinema, the baroque, and literary criticism, the book can be read not only as a study of Bacon’s paintings but also as a crucial text within Deleuze’s broader philosophy of art. In it, Deleuze creates a series of philosophical concepts, each of which relates to a particular aspect of Bacon’s paintings but at the same time finds a place in the “general logic of sensation.” Illuminating Bacon’s paintings, the nonrational logic of sensation, and the act of painting itself, this work—presented in lucid and nuanced translation—also points beyond painting toward connections with other arts such as music, cinema, and literature. _Francis Bacon_ is an indispensable entry point into the conceptual proliferation of Deleuze’s philosophy as a whole. Gilles Deleuze was professor of philosophy at the University of Paris, Vincennes–St. Denis. He coauthored _Anti-Oedipus_ and _A Thousand Plateaus_ with Félix Guattari. These works, as well as _Cinema 1, Cinema 2, The Fold, Proust and Signs_, and others, are published in English by Minnesota. Daniel W. Smith teaches in the Department of Philosophy at Purdue University. (shrink)

In recent years, more and more people have started talking about the necessity of reconciling phenomenology with the project of naturalization. Is it possible to bridge the gap between phenomenological analyses and naturalistic models of consciousness? Is it possible to naturalize phenomenology? Given the transcendental philosophically motivated anti-naturalism found in many phenomenologists such a naturalization proposal might seem doomed from the very start, but in this paper I will examine and evaluate some possible alternatives.

Challenging and rewarding in equal measure, _Phenomenology of Perception_ is Merleau-Ponty's most famous work. Impressive in both scope and imagination, it uses the example of perception to return the body to the forefront of philosophy for the first time since Plato. Drawing on case studies such as brain-damaged patients from the First World War, Merleau-Ponty brilliantly shows how the body plays a crucial role not only in perception but in speech, sexuality and our relation to others.

First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

Bogue provides a systematic overview and introduction to Deleuze's writings on music and painting, and an assessment of their position within his aesthetics as a whole. Deleuze on Music, Painting and the Arts breaks new ground in the scholarship on Deleuze's aesthetics, while providing a clear and accessible guide to his often overlooked writings in the fields of music and painting.