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The discovery of Palaeolithic cave art in the late 19th century entails many problems, some of which are perceptual. Presenting doxology as a post-phenomenological way of approaching epistemic and perceptual questions, this article draws on the problematics of cave art and contemporary cognitive science to discuss the process of perception - what it takes to see what one sees - in caves (and elsewhere). The article concludes that in order to see and perceive anything at all, both our physical and our conceptual resources - the light of the sun as well as the light of the mind, as Empedocles might have said - are needed. The light of the mind is always inextricably linked to doxa. Thus, the article argues that a doxological approach to questions of perception and knowledge is required. [ABSTRACT FROM AUTHOR]

The problematic of world articulation is central to post- phenomenological approaches. With Castoriadis, it emerges as a significant if shadowy thematic. Its shifting contours in his thought are redolent of the ongoing dialogue between romantic and enlightenment currents. They are also indicative of the ambiguity inherent to cultural articulations of the world in modernity. Here, two world perspectives open up various - and conflicting - interpretative challenges to which a response is necessitated. In Castoriadis's case, these take on particular forms of more general trends of `alienation' and `worldliness'. In particular, the isolation of the social-historical as the sole bearer of creativity tends to result in world alienation, whilst his later shift towards radical physis indicates a trend towards vertical worldliness. Arnason's theorization of world articulation in its twofold sense re-imagines the worldliness of the social-historical both in terms of the world tout court and our concrete stance towards it (or the world towards us). As such, it offers a corrective to the ‘worldless freedom’ of the social-historical in Castoriadis's thought. [ABSTRACT FROM AUTHOR]

In Merleau-Ponty's work there is an intimate and reciprocal involvement of socio-cultural and philosophical concerns, more profound and central than Merleau-Ponty himself acknowledged. This gives rise to productive tensions over the course of his works, between the paradigm of perception and an emerging, more culturalist paradigm: language, history, and culture penetrate to the heart of perception, and at the same time the historicity at the heart of perception offers us new ways of understanding the sense and dynamics of the social, cultural and historical fields. The outcome is an outline of an ontology which allows us to think of both nature and culture in new ways and in new relationships. Particularly fruitful is Merleau-Ponty's development of the paradigms of perception and of the life world in the concept of the World, emerging as an original ontological figure, and offering a way of thinking about meaning from our first opening upon it to the cultural world horizon and beyond. [ABSTRACT FROM AUTHOR]

The idea of negative Platonism, first formulated by Jan Patočka in the early 1950s, can be understood as an interpretation of the history of philosophy, with particular reference to its Greek beginnings, as well as a strategy for critical engagement with the metaphysical tradition and a reformulation of central phenomenological themes. Patočka reconstructs the Greek road to metaphysics as a shift from a non-objectifying comprehension of the world as a totality to a quest for systematic knowledge of ultimate reality. In light of this reclaimed background, he then proposes a new reading of Plato: the realm of ideas, separate from empirical reality, becomes a symbol of human freedom, understood as an ability to transcend the world and in so doing grasp it as a totalizing horizon. The concept of freedom thus links a submerged theme of metaphysics to more explicit concerns of contemporary thought. [ABSTRACT FROM AUTHOR]