Between present and past, visible and invisible, and sensation and idea, there is resonance—so philosopher Maurice Merleau-Ponty argued and so Jessica Wiskus explores in The Rhythm of Thought.

If, as Maurice Merleau-Ponty writes, “True philosophy consists in relearning to look at the world,” and if Merleau-Ponty is accordingly often described as a philosopher of the body or a philosopher of painting, how are we to understand the apparently new turn to music that Merleau Ponty makes toward the end of the final completed chapter, entitled “The Intertwining—The Chiasm,” of The Visible and the Invisible? I argue that the course of the “Chiasm” chapter moves from a concern for the (...) reciprocal intertwining of body and world to a concern for the Ineinander of temporality. Thus, there are two dimensions involved in forming Merleau-Ponty’s chiastic structure of the flesh: the fecundity of the sensible world in the dimension of simultaneity and the transcendence of the subject in the dimension of succession. The aim of this article is to explore the part of this structure that pertains to the temporal movement of transcendental intersubjectivity. Focusing on Merleau-Ponty’s adaptation of Husserl’s term, Ineinander, I trace the musical context of the term from Merleau-Ponty’s course notes, “Philosophie aujourd’hui” to the final passages from the “Chiasm” chapter of The Visible and the Invisible, understanding the Ineinander as it pertains to the relation of past and present. Contrary to the overflowing sense of presence experienced by the body in the world, the Ineinander is characterized by succession—by the écart—and finds its natural expression in the movement of music. Thus, the chiastic structure at the heart of Merleau-Ponty’s philosophy of the flesh expresses not only the immersion of a body in the world that sees; it expresses also, as that which is no longer and that which is to come, a creative, melodic movement of time. (shrink)

Memory plays an integral role in music listening and music performance. But what specific memory structures do we employ when we engage with music? Taking Aristotle’s De memoria et reminiscentia as principle guide, I aim to press upon a matter of central interest to the phenomenologist of music, focusing on the relation between memory proper [µνήµη] and recollection [ἀνάµνησις]. Drawing upon Physics IV and De anima III, I clarify a two-fold temporal structure—a structure comprised of sensation and flowing continuity—at work (...) in the experience of remembering. Finally, I claim that music, through the ordered expression of its successive sensations, pertains directly to ἀνάµνησις but supports access to µνήµη, as well. (shrink)

I draw upon Edmund Husserl’s classic text, On the Phenomenology of the Consciousness of Internal Time, in order to reframe some of his insight regarding the structures of inner time-consciousness and lay the groundwork for a few claims of my own. First, I show how musical expression is constituted in relation to the flowing movement of absolute subjectivity. Moreover, by carefully distinguishing between retention and recollection, I clarify, on the one hand, music’s ability to support access to memory proper and, (...) on the other hand, its ability to keep the past “in play,” so to speak. In this way, we come to understand how music offers a unique memorial capacity—it makes possible the life of the past, as the vital movement of absolute subjectivity. Throughout the essay, I refer to Josquin’s motet Ave Maria…virgo serena in order to clarify the specific temporal structures that are at issue. (shrink)

In the Phaedo – a dialogue investigating the immortality of the soul – Socrates compares himself to the swans of Apollo who sing “most beautifully” before they die. Working principally from the Phaedo, the aim of this article is to determine the relation between the song of the swan and the song of the philosopher. First, we examine the use of language in human song as a way to consider the other side of logos: logos not only as word but (...) logos as ratio – i.e., as a relation between temporally-ordered terms. This ratio we then examine as the sense of before-and-afterness that Aristotle explores, in Physics IV, as the “number of movement” that is time; for, through the counting of this “number of movement”, we begin to understand how swans and philosophers share a temporal orientation toward what transcends the present moment. This temporal orientation, I argue, pertains to sempiternity, an ageless or undying [ἀθάνατος] movement of the soul. Thus, I conclude that philosophy as “the highest kind of music” – like the song of the swans of Apollo – concerns itself with the undying state of the soul and, hence, with ethos. (shrink)

ABSTRACTHow does music have the power to speak to us as if it were a living being, endowed with subjectivity? Do we empathize with music? Ordinarily we consider our perception...

In book XI from the Confessions—the book that famously examines the nature of time-consciousness—Augustine enacts the very essence of the questions he investigates by turning to the performance of a psalm. What he seeks to understand is how a succession of events in time—events that unfold and vanish—can at once be part of a whole, like the notes of a melody that cohere into an expressive phrase. He says:Suppose I am about to recite a psalm which I know. Before I (...) begin, my expectation is directed towards the whole. But when I have begun, the verses from it which I take into the past become the object of my memory. The life of this act of mine is stretched in two ways, into my memory because of the words I have... (shrink)

In reassessing the relationship between the ideal and the sensible realms, Merleau-Ponty’s later work (Notes de cours 1958–1959 et 1960–1961 and The Visibleand the Invisible) investigates the “musical idea” of Proust. This idea resembles that of the chora in the Timaeus with respect to its institution of a productive “space” between the ideal and the sensible realms. However, because the musical idea attains its status as an idea through repeated initiation in the sensible world, it transgresses the temporal structures described (...) in the Timaeus. Indeed, the musical idea discloses not a “beginning” of time but a poetic—creative—past. (shrink)

In reassessing the relationship between the ideal and the sensible realms, Merleau-Ponty’s later work (Notes de cours 1958–1959 et 1960–1961 and The Visibleand the Invisible) investigates the “musical idea” of Proust. This idea resembles that of the chora in the Timaeus with respect to its institution of a productive “space” between the ideal and the sensible realms. However, because the musical idea attains its status as an idea through repeated initiation in the sensible world, it transgresses the temporal structures described (...) in the Timaeus. Indeed, the musical idea discloses not a “beginning” of time but a poetic—creative—past. (shrink)