Em Le Philosophe et son Ombre, Merleau-Ponty agencia uma lapidar metáfora no intuito de circunscrever certo domínio de experiência, em rigor, pré-reflexiva, que estaria presente, particularmente, nos últimos trabalhos de Husserl: a sombra. Afinal, o que, mais propriamente, teria permanecido à “sombra” do filósofo? Ora, o pathos corolário do saber ocidental: “a tradição como esquecimento das origens”. Husserl então entrevê outra tarefa cara à fenomenologia, aquém e além de seu idealismo transcendentalmente professo: o retorno à Lebenswelt como horizonte pré-teorético. Trata-se, (...) arqueologicamente, de escavar uma camada de evidência originária, isto é, um mundo bruto, em estado barroco ou selvagem como ainda não pensado. É essa zona de sombra como emblema concreto do Eu puro que não pode mais ser “posta entre parênteses”. (shrink)

I argue that we find the articulation of a problem concerning bodily agency in the early works of the Merleau-Ponty which he explicates as analogous to what he explicitly calls the problem of perception. The problem of perception is the problem of seeing how we can have the object given in person through it perspectival appearances. The problem concerning bodily agency is the problem of seeing how our bodily movements can be the direct manifestation of a person’s intentions in the (...) world. In both cases what, according to Merleau-Ponty, obscures a recognition of the phenomenon in question is a conception of our bodily capacities, i.e. our sensibility and our motility, which reduces these to the workings of mechanisms that are blind to meaning. I argue that both the problem concerning perception and the problem concerning bodily agency can be properly called transcendental. The problem of perception is transcendental because it concerns the very intelligibility of appearances and judgements with empirical content. The problem of bodily agency is transcendental in the sense that it concerns the very intelligibility of our bodily capacity to carry out intentions and by implication the intelligibility of our intentions as such. (shrink)

Different explanations of color vision favor different philosophical positions: Computational vision is more compatible with objectivism (the color is in the object), psychophysics and neurophysiology with subjectivism (the color is in the head). Comparative research suggests that an explanation of color must be both experientialist (unlike objectivism) and ecological (unlike subjectivism). Computational vision's emphasis on optimally prespecified features of the environment (i.e., distal properties, independent of the sensory-motor capacities of the animal) is unsatisfactory. Conceiving of visual perception instead as the (...) visual guidance of activity in an environment that is determined largely by that very activity suggests new directions for research. (shrink)

A arquitetura fenomenológica não possui talvez a solidez e a homogeneidade de uma escola ou de um movimento em sentido estrito, mas representa, no entanto, um vetor notável do pensamento arquitetônico contemporâneo. Juntamente com as obras de Heidegger, as obras de Merleau-Ponty são utilizadas com frequência por aqueles que se reconhecem como representantes de uma arquitetura de inspiração fenomenológica. Neste artigo será analisado o papel que o pensamento de Merleau-Ponty desenrola nas obras e no pensamento de Juhani Pallasmaa e Steven (...) Holl, autores que se destacam pela força de seus trabalhos e pela determinação de suas posições teóricas. Particular atenção se prestará à dupla oposição que caracteriza a arquitetura fenomenológica, que se distancia com igual firmeza tanto do modernismo como do pós-modernismo. Estes autores, na reivindicação da primazia do corpo vivido e da experiência perceptiva, consideram ter encontrado um “antídoto” à ossificação produzida pela racionalidade moderna, com seus espaços funcionais e inabitáveis, como também à celebração da autorreferencialidade de um certo pós-modernismo, com seus edifícios destinados essencialmente a serem contemplados pelos apreciadores. A partir dessa dupla oposição, a arquitetura fenomenológica parece procurar um plano mais sólido numa forte acentuação da positividade da experiência corpórea e perceptiva, quando Merleau-Ponty parece empenhado, pelo contrário, em uma progressiva revisão destes aspetos. (shrink)

In order to understand the lived experiences of physicians in clinical practice, we interviewed eleven expert, respected clinicians using a phenomenological interpretative methodology. We identified the essence of clinical practice as engagement. Engagement accounts for the daily routine of clinical work, as well as the necessity for the clinician to sometimes trespass common boundaries or limits. Personally engaged in the clinical situation, the clinician is able to create a space/time bubble within which the clinical encounter can unfold. Engagement provides an (...) account of clinical practice as a unitary lived experience. This stands in stark contrast to the prevailing notion, referred to as a dual discourse, that describes medicine as the addition of humanism to science. Drawing on Aristotle’s notion of phronesis and Sartre’s definition of the situation, we illustrate how this novel perspective entwines clinical practice, the person of the clinician, and the clinician’s situation. (shrink)

La noción de sistema de equivalencias adquiere en la fenomenología merleaupon-tyana un lugar central, puesto que allí subyace una función general de transposición tácita. Se trata de un principio de comprensión sin explicación analógica, una síntesis sin análisis, tal como puede observarse, por ejemplo, en la plasticidad, la transferi-bilidad y la analogicidad que caracteriza a los hábitos. Sobre esta base, este artículo seguirá un camino regresivo a fin de desvelar que el sentido de las equivalencias y transposiciones está latente en (...) "las matrices simbólicas", que ofrecen una clave para comprender que los fenómenos de expresión, que tienen lugar en el mundo a través del cuerpo, del lenguaje, de la historia y del arte, deben ser vistos como nudos, emblemas de sentido en los que se hace visible una dimensión temporal. Las matrices simbólicas son "centros organizadores" y, por lo tanto, "centros de significación" que se retoman una y otra vez. The notion of a system of equivalences comes to have in Merleau-Ponty's phe-nomenology a central place because lying under there is a general function of tacit transposition. It is a principle for understanding without analogical explanation, i.e., a synthesis without analysis, as can be seen, for example, in the plasticity, transferability, and likeliness that characterizes habits. On this basis, the article will follow a regres-sive way in order to show that the meaning of the equivalences and transpositions is latent in "the symbolic matrixes" that offer a clue to understand that the phenomena of expression, which occur in the world by means of the body, language, history, and art, should be seen as nodes or emblems of meaning in which a temporal dimension shows itself. Symbolic matrixes are "organizing centers", and thus "centers of signi-ficance" that are taken up over and over again. (shrink)

Although better known for his phenomenology of perception and the perceived world, Merleau-Ponty’s writings also contain the outlines of a rich and unique account of the imagination and the imaginary. In this paper, I explicate the phenomenology of the image that Merleau-Ponty develops throughout his work. I show how Merleau-Ponty develops this account of the image in critical response to Sartre and in a way that follows from his own descriptions of what painters do when they paint and of what (...) we experience when we look at their paintings. The investigation of the particular mode of being of images leads to a consideration of the body and Merleau-Ponty’s later ontology. (shrink)

This essay aims at an elucidation of the performative relation connecting artistic mimesis with the living body. Encompassing art theory and phenomenology of the body, the scope is to evince a crucial link between aesthetic interpretation, body motion, and mimetic creativity, with general implications for reflection on the body, as well as a deeper understanding of a major element of ancient Chinese culture. By mainly analyzing Chinese texts on ink brush writing, as well as some testimony taken from 20th century (...) European philosophy, this essay, from a transcultural stance, tries to show how ink brush writing may be interpreted as a type of regulated body movement and body exercise. What appears as responsiveness within this phenomenal field is a specific form of mimesis, namely body mimesis. As a sort of imitative action, body mimesis runs through the bodily self, beyond consciousness, transforming it and shaping its behavior. (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)

Le chiasme de l’être: une exploration de l’ontologie du sens de Merleau-PontyLa question de l’ontologie inclut celle de savoir comment un être se détermine et acquiert son sens, autrement dit comment il instaure sa différenciation par desorientations, des significations et des différences en général. Cette étude explore l’idée que le sens d’un être provient d’une « chiralité ontologique », c’est-à-dire d’un type de différence ontologique présentant un apparentement caractéristique de ses deux côtés droit et gauche. L’étude montre tout d’abord comment (...) l’ontologie merleau-pontienne de la réversibilité conduit à la question de la chiralité. On fait ensuite entrer dans la discussion des résultats obtenus dans les domaines de la chimie, de la biologie et de la géométrie, pour mieux mettre en lumière l’importance des différences en chiralité et pour élaborer une définition de la « chiralité ontologique » en étroite liaison avec l’ontologie du sens.Il chiasma dell’essere: un’esplorazione dell’ontologia del senso merleau-pontianaIl problema dell’ontologia include il problema di come l’essere sia determinato e acquisisca senso, acquisisca cioè gli orientamenti, i significati, tutte quelle differenze che fanno la differenza. Questo saggio esplora il pensiero secondo il quale il senso dell’essere deriva da una ‘chiralità ontologica,’ una sorta di differenza ontologica con caratteristiche affini alle differenze fra le mani destra e sinistra. Il testo illustra in primo luogo come l’ontologia merleau-pontyana della reversibilità porti alle questioni della chiralità. I risultati della ricerca attuale, in chimica, biologia e geometria sono poi discussi per illuminare l’importanza delle differenze chirali e per sviluppare una definizione della chiralità ontologica che si connette ad una ontologia del senso. (shrink)

A gestão da Covid no Brasil está entre as piores do mundo, com número de óbitos inaceitavelmente alto. É inclusive estranho que esses resultados não tenham sido capazes de disparar entre os brasileiros nenhuma mobilização social mais decisiva. Não obstante o reconhecimento da importância do debate mais estritamente político, o objetivo deste artigo é ensaiar uma reflexão fenomenológica sobre a respiração, tendo Heidegger como referência principal. A Covid é afinal uma doença respiratória, que nos convida – ou deveria convidar – (...) a pensar sobre a respiração sob perspectivas históricas, ontológicas e existenciais. São dois os temas a discutir: nossa empobrecida relação com o respirar, e a dificuldade de, mesmo diante de mais de 600 mil mortes direta ou indiretamente causadas no Brasil por asfixia – e mais de 5 milhões no mundo –, encontrarmos caminho para discutir o assunto com mais profundidade. (shrink)

The chiasm is usually considered the key notion for Merleau-Ponty’s later philosophy. I argue against a common conclusion, namely that ‘the chiasm’ is equivalent to ‘reversibility’. Even when the two terms are not taken as interchangeable, the precise nature of their relation has not been adequately established. Focusing exclusively on ‘reversibility’ has implications for a range of philosophical issues, including relations between self and other. The danger of substituting one term for the other is that existential relations are construed as (...) inversions, rather than as genuine exchanges. I examine two trajectories that can be discovered in ‘The Intertwining—The Chiasm’. The first is the inclusion of difference within a peculiar, extended sense of ‘reversibility’. The second is the development of a plurality of expressions, among which ‘reversibility’ is necessary but not sufficient. I go on to argue that Merleau-Ponty secures difference within the chiasm by supplementing the notion of reversibility with ‘imminence’, the idea that something has not yet occurred. I also propose that the figure of a threshold illuminates how the chiasm operates as a transition where both joining and differentiation occur. (shrink)

Resumo O propósito deste texto é mostrar que os problemas enfrentados por Merleau-Ponty, ao longo de seu percurso de pensamento, decorrem dos pressupostos dicotômicos dos quais ele parte. Assim, procuramos trazer à tona outras consequências de se assumir tal pressuposto, o do primado de uma experiência perceptiva muda como solo natal de todas as outras modalidades da experiência. Para tanto, tomam-se em consideração tanto a primeira como a segunda fase do pensamento de Merleau-Ponty.Our purpose is to show that the problems (...) faced by Merleau-Ponty throughout his path of thought arise from the dichotomous assumptions from which he begins. Thus, we seek to shed light on the other consequences of assuming a presumption such as the primacy of a mute perceptual experience as the native soil of all other experience’s modes. Therefore, the first as well as the second phases of Merleau-Ponty’s thought are taken into account. (shrink)

Cuerpo físico y cuerpo vivido no deben interpretarse como dos realidades separadas, sino que representan dos aspectos distintos de la misma experiencia corporal descrita en términos fenomenológicos. La experiencia de la corporalidad puede seguir dos direcciones: a) la primera es una dirección ascendente, que implica el desarrollo de las posibilidades de movimiento, acción y expresión del cuerpo en toda su plenitud; b) el otro camino o dirección, en contraste con el anterior, toma una senda descendente, y se halla estrechamente relacionado (...) con la experiencia del dolor, de la limitación, de la resistencia corporal que es experimentada como oposición a la propia voluntad: es el cuerpo vulnerable. Aquí reaparece un nuevo dualismo: el cuerpo poético de la expresión frente al cuerpo vulnerable de la enfermedad y el dolor. Mi contribución trata de cuestionar la idea de que el cuerpo poético de la expresión artística y el cuerpo vulnerable de la vejez, de la discapacidad o de la enfermedad, pertenezcan a esferas completamente separadas. Con este propósito, se intenta poner de relieve los múltiples puntos de intersección entre ambas perspectivas, al tiempo que se sostiene que tales intersecciones pueden llegar a ser interesantes puntos de partida de la investigación interdisciplinar. (shrink)

My purpose is to suggest and open a dialogue between Plato and Adorno, and for this I have chosen the concept of mimesis, a concept that plays a central role in both thinkers both epistemologically and aesthetically. While Plato uses the term in order to expel the poets from Kallipolis, to be more precise certain kinds of poetry such as tragedy and comedy, Adorno uses the term to show the relationship between art and natural beauty, the somatic dimension of knowledge, (...) and the importance subversive poets and artists. For Plato, poets are three times removed from the truth and for Adorno, by contrast, the work of art is a vehicle of truth. This dialogue between an ancient and a modern intends to show not only the presence of the old in the new, but the valuable present and the fruitful transformation that an old concept can have. (shrink)

This paper deals with Parmenides of Elea’s way of inquiry about reality and the opposition emerging from it. In more detail, it analyses how Parmenides’ concepts of logos and doxa present some analogies with Bergson’s thoughts about duration and Time and how these theories influenced the understanding of visual media, especially the cinematographic camera. This survey will allow us to demonstrate that some scientific theories about space that accompanied the development of the cinematographic camera progressively allowed for the birth of (...) a new understanding of this device. In the last section of this study, we will then focus on the way through which the film camera - understood as an intelligent device - passes from the sphere of doxa to the sphere of logos. (shrink)

Following Merleau-Ponty´s inspiration, B. Waldenfels deals with embodiment emphasizing its responsive dimension, i.e., modes of bodily behavior and experience that respond to interpellations of the strange. From this view, the article aims to ex­plaining the intertwining of body and nature with the intention of showing that nature, understood as another side of human being, implies an alterity that cannot be reduced to the logic of intentionality nor to the logic of communication. The interpellation that arises from Nature has, on the (...) one hand, the meaning of appeal in the sense of an address to somebody, and, on the other, of pretention as an interpellation to something. Based on these presuppositions, the second part of the article tries to show how, by means of painting, a responsive action is set in motion. The features of singularity, unavoidable­ness, subsequence, asymmetry, and innovation that characterize the logic of the answer guiding this action. (shrink)

Rapport d'expériences portant sur la reconnaissance, dans des photogrammes, des photographies ou des dessins, d'une action humaine filmée. Les résultats sont analysés à la lumière de certaines interprétations psychologiques de ce que l'on appelle le mouvement dans l'image. La reconnaissance ne pouvant pleinement rendre compte du phénomène perceptif en question, il est proposé d'y voir une forme de perception dans laquelle la dimension temporelle serait dominante.