PART INTRODUCTIONS TO MERLEAU- PONTY'S PHI LOSOPH Y OF PAI NTI NG Galen A. Johnson ...

In this elegant new study Galen Johnson retrieves the concept of the beautiful through the framework of Merleau-Ponty’s aesthetics. Although Merleau-Ponty seldom spoke directly of beauty, his philosophy is essentially about the beautiful. In Johnson’s formulation, the ontology of Flesh as element and the ontology of the Beautiful as elemental are folded together, for Desire, Love, and Beauty are part of the fabric of the world’s element, Flesh itself, the term at which Merleau-Ponty arrived to replace Substance, Matter, or Life (...) as the name of Being. Merleau-Ponty’s _Eye and Mind _is at the core of the book, so Johnson engages, as Merleau-Ponty did, the writings and visual work of Paul Cézanne, Auguste Rodin, and Paul Klee, as well as Rilke’s commentary on Cézanne and Rodin. From these widely varying aesthetics emerge the fundamental themes of the retrieval of the beautiful: desire, repetition, difference, rhythm, and the sublime. The third part of Johnson’s book takes each of these up in turn, bringing Merleau-Ponty’s aesthetic thinking into dialogue with classical philosophy as well as Sartre, Heidegger, Nietzsche, and Deleuze. Johnson concludes his final chapter with a direct dialogue with Kant and Merleau-Ponty, and also Lyotard, on the subject of the beautiful and the sublime. As we experience with Rodin’s _Balzac_, beauty and the sublime blend into one another when the beautiful grows powerful, majestic, mysterious, and transcendent. (shrink)

McAllestar (computer science, MIT) describes ONTIC, the interactive system for verifying represents a significant change of direction in the field of mechanical deduction, a key area in computer science and artificial intelligence. Fourteen interrelated essays comprise a multifaceted dialogue about intersubjectivity, reciprocity, and the nature of self and other, especially as these themes are developed in Merleau-Ponty's The Visible and the invisible. The question they explore is whether the reversible alterity of sensing and being sensed, a theme at the heart (...) of Merleau-Ponty's thought, is sufficient for understanding the alterity of other persons and of nature. Annotation copyrighted by Book News, Inc., Portland, OR. (shrink)

The following overview of the present situation and recent trends in the philosophy of science in the USA brings together bibliographical and institutional evidence to document the last stages of the supersession of logical positivism, the emergence of the historical school , its widespread influence upon other fields as well as within philosophy of science, and finally some of the reactions to it, many of which envision their endeavors as mediations between the historical school and the older logical approaches As (...) well as recording pertinent institutional trends, the report provides a series of capsule summaries of representative work from the extant literature primarily from 1966 to the present. (shrink)

The Flesh of Images: Merleau-Ponty Between Painting and Cinema, by Mauro Carbone, is his third book in a body of work interpreting Merleau-Ponty’s ontology of Flesh: The Thinking of the Sensible: M...

Beginning from Klee’s statement on truth in self-portraiture that his faces are truer than real ones and Cézanne’s promise to tell us the truth in painting, we consider the origins of truth in art for the philosophy of Merleau-Ponty. We discover that truth in perception, in life, and incarnate existence, as in art, originates from bodily movement. Similar to Heidegger’s argument in “The Origin of the Work of Art,” a truth happens between the work and painter, between the work and (...) viewer, and is not limited to the domain of language, but words and symbols mix together with colors and forms, as in the paintings of Klee. Similar to Husserl’s argument in “The Origin of Geometry,” the originary sense of art, like geometry, is an interweaving of world, intersubjectivity, speech, and writing that achieves a more “militant” truth than mere logical propositions. Truth is marked by its endurance, mobility, agility, subtlety, and depth. These interweavings mean there is no single origin of truth in art and life but a plurality of origins in movement, pleasures, and desires for the becoming of creation. (shrink)

These inquiries do not diminish or overshadow the power and importance of the gift that isThe Embers and the Stars. It must be counted among the richest, most eloquent, original, and challenging new works of philosophy to appear in recent years, standing alongisde the best of the authors Kohák admires most, like Marcel and Ricoeur. It must be read. Moreover, we must press Kohák for both the philosophical theology and philosophical inquiry into the moral sense of artifacts toward which this (...) work points. Once there was a man, once there was a raccoon, once there was a work. That is the miracle, that is the point. (shrink)

This book is a philosophical inquiry into historical meaning and narrative understanding. Interpreting selected writings of Husserl and Merleau-Ponty, and stories of Kafka, Rilke, Sartre, and Camus, the author defends the narrative coherence of life and the irreducibility of narrative understanding and truth. The island imagery uncovered in these authors provides the parameters for a contemporary philosophy of history properly mingling earth and sky as natality and mortality, remembering and forgetting, wandering and homecoming, waking and dreaming, wealth and poverty. Johnson (...) has pushed the life-world theme of Husserl's phenomenology out toward the wild-flowering world where it seems to have been headed. (shrink)

This article explores the question of the cognitivity of the arts. It begins from Kundera’s argument that the novel, originating from Cervantes, offers a response toGalileo and solution to Husserl’s diagnosis of a “crisis of European sciences.” Expanding to the full range of literary arts, we next undertake a re-reading of Aristotle’s Poetics to assess Aristotle’s views of the origins of tragedy and press for a cognitive interpretation of the meaning of catharsis and emotions. Finally, turning to the abstract expressionism (...) of Barnett Newman, we develop a cognitive interpretation of visual arts and the non-figurative aesthetic of the sublime. (shrink)

This paper initiates a phenomenological study of the aesthetics of forest and wood in three main phases. First, we consider the modalities of wood’s sensuousness and argue against the formalist tradition that restricts aesthetic appreciation to visual forms. Second, we examine the structural, eidetic features of hand-made wooden objects in the “second life” of trees. Third, we engage in reflections on the communities gathered by the first and second lives of trees. These themes outline an aesthetics of the beautiful, the (...) given, and the gathering. We take philosophical inspiration from Merleau-Ponty throughout, and in the end, also Thoreau. (shrink)

This article explores the question of the cognitivity of the arts. It begins from Kundera’s argument that the novel, originating from Cervantes, offers a response toGalileo and solution to Husserl’s diagnosis of a “crisis of European sciences.” Expanding to the full range of literary arts, we next undertake a re-reading of Aristotle’s Poetics to assess Aristotle’s views of the origins of tragedy and press for a cognitive interpretation of the meaning of catharsis and emotions. Finally, turning to the abstract expressionism (...) of Barnett Newman, we develop a cognitive interpretation of visual arts and the non-figurative aesthetic of the sublime. (shrink)

This paper initiates a phenomenological study of the aesthetics of forest and wood in three main phases. First, we consider the modalities of wood’s sensuousness and argue against the formalist tradition that restricts aesthetic appreciation to visual forms. Second, we examine the structural, eidetic features of hand-made wooden objects in the “second life” of trees. Third, we engage in reflections on the communities gathered by the first and second lives of trees. These themes outline an aesthetics of the beautiful, the (...) given, and the gathering. We take philosophical inspiration from Merleau-Ponty throughout, and in the end, also Thoreau. (shrink)

Mazisgives us a new reading of Merleau-Ponty’s overall writings, a monumental work of vast scope with an original thematic reading of Merleau-Ponty’s thought. Its overall structure is revealed by its subtitle: elucidating the depth of silence, taking it as normative for ethics, reformulating perception as imaginal, concluding with a poetics of philosophy. The book offers us a Merleau-Ponteanethics of “felt solidarity” and “lateral unity” through developing a sharp opposition between the ethics of Merleau-Ponty and Levinasregarding the “face” and the face-to-face, (...) and a new understanding of the inspiration Merleau-Ponty received from the novels of Antoine de Saint-Exupéry.By “face of the world,” Mazismeans to highlight the “physiognomic character” of perception, which means perceiving the overall form or shape of things that is suggestive and invites further attention. Merleau-Ponty’s French term, translated as “face,” is the word figure. In other words, to speak of the “face of the world” is new way of speaking of the “flesh of the world,”with a particularly poignant ethical edge about attentiveness and respect.Ultimately, what is at stake is the whole way of entering into and conducting the philosophical enterprise. Philosophy requires a qualitative language to articulate a qualitative world. This is poetic language and poetic phenomenology. This work commands our attention in a world that is increasingly “face blind” to the expressiveness of the world, not only of persons, but also of other living organisms, even the physiognomy of institutions and nature itself.Mazis nous offre une nouvelle lecture de l’oeuvre de Merleau-Ponty. Il s’agit d’un ouvrage monumental et ambitieux offrant une lecture originale de la pensée merleau-pontienne. La structure d’ensemble s’annonce dans le sous-titre : éclairer la profondeur du silence, l’assumer en tant que norme pour une éthique, reformuler la perception en tant qu’imaginale, conclure avec une poétique de la philosophie. Le livre esquisse ainsi une éthique merleau-pontienne de la « solidarité sentie » et de l’« unité latérale » en développant une opposition nette entre l’éthique de Merleau-Ponty et de Levinas, par rapport à la question du « visage » et du « face-à-face », ainsi qu’une nouvelle compréhension de l’inspiration que Merleau-Ponty a reçu des romans d’Antoine de Saint-Exupéry.Par « visage du monde », Mazis nomme le « caractère physionomique » de la perception, c’est-à-dire le fait de percevoir l’ensemble ou la forme des choses en tant qu’elle est allusive et nous invite à une attention ultérieure. Mazis traduit ainsi le terme figure. Parler d’un « visage du monde » est une manière nouvelle pour parler d’une « chair du monde », avec une insistance particulière sur l’attention et le respect. Enfin, ce qui est en jeu est un nouveau moyen d’entrer et de conduire l’entreprise philosophique. La philosophie demande un langage qualitatif afin de pouvoir articuler un monde qualitatif : un langage poétique et une phénoménologie poétique. Un tel travail demande notre attention par rapport à un monde qui est en train de devenir de plus en plus insensible vis-à-vis de l’expressivité du monde, non seulement des personnes, mais aussi des autres organismes vivants, de la physionomie des institutions et de la nature elle-même.Mazis offre una nuova lettura degli scritti di Merleau-Ponty nel loro complesso, in un lavoro monumentale e dall’orizzonte ampio che ripercorre il pensiero del filosofo secondo un taglio tematico originale. La struttura globale dell’opera si annuncia nel suo sottotitolo: essa esplora la profondità del silenzio, assume quest’ultimo come normativo in termini etici, riformula la percezione come immaginale, e si conclude con una poetica della filosofia. Il libro tratteggia un’etica merleau-pontiana della “solidarietà percepita” e dell’“unità laterale” che viene ricostruita attraverso una contrapposizione netta tra l’etica di Merleau-Ponty e quella di Lévinas in riferimento al “volto” e al “faccia a faccia con l’altro”; offre inoltre un’interpretazione nuova degli spunti ricavati da Merleau-Ponty dai romanzi di Antoine de Saint-Exupéry.Attraverso la formula “volto del mondo”, Mazis intende evidenziare il “carattere fisiognomico” della percezione, che significa percepire i contorni o la forma complessiva delle cose in quanto suggestiva e in grado di suscitare l’attenzione. Il termine francese di Merleau-Ponty tradotto come “volto” è figure. In altri termini, parlare di “volto del mondo” è un nuovo modo per riferirsi alla “carne del mondo”, con un richiamo etico particolarmente marcato al riguardo e al rispetto.In ultima analisi, ciò che è in gioco è un modo completamente nuovo di accedere e imprimere una direzione all’impresa della filosofia. Questa richiede un linguaggio qualitativo per articolare un mondo qualitativo. Ovvero un linguaggio poetico e una fenomenologia poetica. Questo volume si impone alla nostra attenzione in un mondo sempre più affetto da “cecità” nei confronti del volto e dunque sempre più insensibile all’espressività del mondo, non soltanto nei confronti delle persone, ma anche degli organismi viventi e persino della fisiognomica delle istituzioni e della natura stessa. (shrink)

Mauro Carbone’s most recent book, Philosophy-Screens: From Cinema to the Digital Revolution advances the work and thought of his Flesh of Images: Merleau-Ponty Between Painting a...

Is experiential evidence irrelevant to acceptance or rejection of belief in the existence of a Divine Being? Charles Hartshorne answers that it is indeed irrelevant, and this answer has an initial and, for me, continuing surprising ring to it. Specifically, Hartshorne makes two distinguishable claims: the traditional allegedly a posteriori arguments, the teleological and cosmological, are in fact incompatible with empiricist methodology and are disguised ontological arguments; the conception of God as necessary being demands that belief in such a being's (...) existence or non-existence in no way depend upon empirical evidence. On the contrary, I shall argue, first, that empirical evidence for God is truly empirical and second, that there is no incompatibility between empirical evidence and necessary existence. My argument will involve an attempt to understand and clarify somewhat the very difficult concepts of ‘experience’ and ‘necessity’ as they arise in the context of religious epistemology. I wish to make clear at the outset that my aim is not to eliminate ontological arguments for God in favour of empirical arguments, for I believe that Hartshorne's work on the modal ontological argument contributes substantially to providing grounds for reasonable belief in theism. Rather, my purpose is to show that ontological and empirical patterns of theistic argumentation are neither incompatible with each other nor reducible to each other. (shrink)

Merleau-Ponty has long been known as one of the most important philosophers of aesthetics, yet most discussions of his aesthetics focus on visual art. This book corrects that balance by turning to Merleau-Ponty's extensive engagement with literature. From Proust, Merleau-Ponty developed his conception of "sensible ideas," from Claudel, his conjoining of birth and knowledge as "co-naissance," from Valéry came "implex" or the "animal of words" and the "chiasma of two destinies." Literature also provokes the questions of expression, metaphor, and truth (...) and the meaning of a Merleau-Pontian poetics. The poetic of Merleau-Ponty is, the book argues, a poetic of the flesh, a poetic of mystery, and a poetic of the visible in its relation to the invisible. Ultimately, theoretical figures or "figuratives" that appear at the threshold between philosophy and literature enable the possibility of a new ontology. What is at stake is the very meaning of philosophy itself and its mode of expression. (shrink)