By Kascha Semonovitch Snavely, Neal Deroo
Merleau-Ponty on the Limits of artwork, faith and notion seeks to respond to the query of what lies on the restrict of philosophy. The ebook lines the road among artwork and aesthetic judgment, psychology and philosophy, sacramentality and transcendence in Merleau-Ponty’s lifestyles and paintings. that includes essays by way of a world group of major students, this publication examines Merleau-Ponty’s turning out to be impact in paintings, cognitive technological know-how, psychology and faith. the result's a renewed realizing of the boundaries of every of those fields: in artwork, whilst the road ceases to be a line and turns into a piece of artwork, and whilst paintings ceases to be paintings by myself and manifests a philosophy; in faith, whilst sensuality transfigures into sacramentality or religion turns into faith; in philosophy, while the topic ceases to be basically temporal, yet turns into temporality; and in psychology and cognitive technology, whilst notion turns into normative, while bodies transcend actual extension to turn into areas of ability and feeling, while idea turns into treatment, perform or behavior.
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Extra resources for Merleau-Ponty at the Limits of Art, Religion and Perception (Continuum Studies in Continental Philosophy)
Seen yet not seen, there yet not there, present yet not present, the line is ambivalent. Even in its purely mathematical form, the line is enigmatic: it can outline and thus determine Freeing the Line 25 a geometric shape, and yet, since it has no breadth, since it has only the one dimension of length, it is, in the strictest sense, invisible. In outlining the things of the perceptual world, the line is similarly ambivalent; its character, its very mode of visibility, of presence, wavers indecisively between opposites, and yet it is decisive, indeed imperative, for the appearing of things.
There is a landscape but there are also colors. The colors are obviously painted. There are traces of brushstrokes, which are easily to be recognized as such, not the least by some free space between them; the painter has not covered the entire canvas. As it seems, he has not tried to conceal the paint, in order to give it the appearance of color as it could be experienced in the real world. The painting is not illusionary; it could not be used as a trompe l’œuil. The landscape does not have the spatial depth that it could be expected to have in order to represent the space of the real world.
The colors, their tones and nuances, form lines; they become things, rocks, trees, without the artist’s intention (Gasquet, 1978, p. 109). The artist does not compose the painting in orientation to a schema. Although there are trees and rocks before his eye, he does not contemplate them in their determinate being, but rather in the totality of visual appearance. In translating this appearance to his canvas, he lets the trees and rocks and the other things appear. They appear in their primordial appearance.